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Samson Wong

@citymemoria

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Experimental. Studies. Data Science. Connection. Interactive. DM for collaboration.
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Closeup #neurons #touchdesigner #fractal #Mandelbrot #nonai #trail #growth #feedbackloop #connection #root #futurepast by @citymemoria
14
2 years ago
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Close-up #experimental #touchdesigner #blossom #particlessimulation #instancing #illusion #particlewaveduality #motionless #voronoi #noise #generativearts #nonai #neuroart #neuronconnections #interconnection #connectingthedots #everlastingflow #frequencies #inkpainting #arttechnology #codingart #undertheskin by @citymemoria
88
3 years ago
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Neuron Plantation Flowa by @citymemoria 🌸 taken in New York City by @citymemoria
1
18 days ago
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What if data could become a language for emotion? Meet Samson Wong @citymemoria, a visual effects artist and multidisciplinary creator whose practice explores the space between technology, data, and human experience. For nearly two decades, Wong has worked at the intersection of visual effects, storytelling, and large-scale visual production, including as Visual Effects Supervisor for the 2018 Winter Olympics Closing Ceremony. Today, his practice is moving beyond traditional VFX into interactive media, real-time data, and generative systems — asking a simple but powerful question: How can we make the invisible visible? Wong transforms complex and often imperceptible information into dynamic visual experiences, exploring subjects including neuroscience, memory, perception, and the human mind. This autumn, his work has moved from the screen as a cinematic medium to the city as an exhibition space. Through our collaboration with Elevision, Samson Wong’s work was being presented across digital screens in Dubai, Abu Dhabi, and London — bringing his data-driven visual language into the everyday rhythm of the city. For us at IOGINALITY, this is what makes digital art so exciting: an artwork doesn’t have to remain inside a gallery or museum. It can appear on the way to work, in a lobby, on a city screen — and suddenly become part of the visual landscape we experience every day. From invisible data to visible experience. #IOGINALITY #DigitalArt #DataArt #GenerativeArt taken in Dubai, UAE by @citymemoria
2
19 days ago
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#sketches taken in Amazon River, Iquitos, PERÚ by @citymemoria
3
a month ago
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#sketches taken in Amazon River, Iquitos, PERÚ by @citymemoria
3
a month ago
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#sketches #amazon #loreto taken in Amazon River, Iquitos, PERÚ by @citymemoria
2
a month ago
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@citymemoria // RENDAH MAG by @citymemoria
1
2 months ago
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An echo and tribute to my grandfather Wong Bun Tang’s 1963 painting Cultural Light Cavalry Comes to the Mountain Household. The original work depicts a group of cultural workers traveling through mountain paths, carrying instruments and supplies to bring music, performance, and culture to a remote village. In this reinterpretation, the figures, bicycles, instruments, and mountain path continue the spirit of the original painting, while a massive sphere hovers silently in the distant mist — an unknown presence suspended between history, memory, and future. “Carrying loads in hand and on shoulders amidst joyous laughter, the Cultural Light Cavalry arrives at the mountain household. At midday, deep in the mountains, the village commune draws near, the wind blows through the banyan shade with a rustling sound.” — Wong Bun Tang 1963 對我祖父王奔騰1963年作品《文化輕騎到山家》的一次回響與致敬。 原作描繪一群文化工作者跋涉山路，手持肩負，帶著樂器與物資，將音樂、表演與文化帶到偏遠山村。於我的重新詮釋中，人物、樂器、單車與山徑仍延續原作的精神，而遠方霧谷中懸浮的巨大球體，則成為一個沉默而未知的存在，介乎歷史、記憶與未來之間。 「手持肩負笑聲嘩， 文化輕騎到山家。 日午山深村社近， 吹送榕陰風沙沙。」 — 王奔騰，1963 by @citymemoria
0
4 months ago
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Flow path layering by @citymemoria
5
5 months ago
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#vectorflow #inkartwork by @citymemoria
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5 months ago
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With the help of AI, extracting visual components from the original paintings from Wong Bun Tang 王奔騰 @wongbuntang: mountain masses, rock textures, brush marks, trees, mist, water flow, inscriptions, seals, and small human figures. These fragments become a visual language library — not to replace the painting, but to understand how its inner structure can be extended into space. In this concept, the extracted elements are reimagined as an immersive floor installation. Mountains dissolve into reflective surfaces; ink flow becomes moving water; brush textures turn into terrain; cell-like ink particles gather, disperse, and respond to the movement of visitors. The floor becomes a living shan shui landscape — a place where painting is no longer only seen from a distance, but walked through, activated, and felt beneath the body. It is a study of how tradition can continue through reconstruction, interaction, and resonance. 用AI 從王奔騰 (@wongbuntang / Wang Ben Teng) 的原作中提取視覺構件：山體、岩石紋理、筆觸、樹木、雲霧、水流、題款、印章，以及細小的人物。 這些片段形成了一套視覺語言資料庫——並不是為了取代原作，而是為了理解畫作內在的結構，並探索它如何被延伸至空間之中。 在這個概念裡，這些被提取的元素被重新想像為一個沉浸式地面裝置。山體溶入反射的表面；墨流轉化為流動的水勢；筆墨紋理變成地形；如細胞般的墨粒子聚集、擴散，並隨著觀眾的移動而產生回應。 地面成為一幅有生命的山水景觀——繪畫不再只是從遠處被觀看，而是可以被行走其中、被觸發，並在身體之下被感受。 這是一項關於傳統如何透過重構、互動與共鳴而延續的研究。 #inkart #inkcell by @citymemoria
3
5 months ago
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