Tag Archives: sea

Thomas C. Chung: a departure from childhood innocence

Pau Waelder

Chinese-Australian artist Thomas C. Chung has embarked on a lifelong artistic research that he is developing in well-structured phases, each one characterized by an exploration of different techniques and approaches to human experience. He earned his Bachelor of Fine Arts from the University of New South Wales’ College of Fine Arts in 2004 and has had a noteworthy international artistic presence in recent years. Chung has been a representative for Australia in several prominent international exhibitions, such as the 2nd Land Art Biennial in Mongolia, the 4th Ghetto Biennale in Haiti, and the 9th Shiryaevo Biennale in Russia. Currently, he is exploring the realms of psychotherapy as a means to deepen his artistic inquiry. 

The artist presents on Niio three pivotal works from his ongoing second phase, in which he leaves behind a narrative focused on childhood innocence and enters the adult world with a series of more sober, meditative artworks. The landscapes that form the collection “As Far As I Could See…” introduce a deeper reflection on the human condition, not without a hint to the magic and surreal aspects of children’s imagination. 

Experience Thomas C. Chung’s dreamlike landscapes

Open artcast
Thomas C. Chung. “As Far As I Could See…” (I), 2023

In the following interview for Niio, Chung discusses the motivations behind his work and dives into his second-phase artworks, which have recently been exhibited at the Chinese European Art Center (Xiamen, China) in a solo show titled “The Sea That Stands Before Me…”

Your work has evolved over the last decades following a “lifelong narrative” determined by different phases. The first phase was characterized by crochet sculptures, installations, and an overall playful aesthetic, while the second-phase works present a very different approach. It may even be hard to recognize the work of the same artist in these two phases. How have you dealt with this transition, and what has been the response to it?

I’ll be the first to say I was nervous about the different phases I had conceived – I figured it might be too hard for others to accept, especially with the small but loyal following I had built. Over time, I understood that as long as the work was fascinating to myself & others, it didn’t matter what shape or form it took as long as the creativity was there. I clarified this by using new techniques each decade, approaching the chapters within my Art by splitting them into various methods that correlated with the story I wanted to tell. The 1st phase was all handmade, tactile, labor-intensive & filled with food motifs as avenues for expressing a child’s obsessions & dreams. This 2nd phase speaks of the departure from childhood & the realization that life has to progress beyond our comfort zones so that we can understand the totality of our world. 

I had a lot of interests as a child & wanted to grow up to be so many things, one of which was as a children’s illustrator & author. But Art chose me instead, so here I am, creating a different type of story, saving that option for later. 

Thomas C. Chung’s solo exhibition at the Chinese European Art Center extends to Sedition and Niio with the presentation of a selection of artworks.

You have expressed that, in your work, you aim to see the world through the eyes of a child. How do you convey this idea without being perceived as childlike or superficial? Which is the underlying concept that grounds these artworks?

It aligns with how I interact with people these days in a direct yet open & gentle manner without overthinking the consequences. If others don’t appreciate it, I try not to let it matter. Everyone has their view or way of life. My artwork may have previously been seen as naive, which at times bothered me. I knew as a conceptual artist, my practice would be a lifetime’s work that would encompass the narratives of my inner child. The artwork titles are a hint to what it is they see & are presented to the audience as an observation of their journeys while exploring the world. To produce this lifelong story, it was always my vision to create a giant storybook-like body of work split into chapters, set within a contemporary art context, emphasizing the importance of patience, empathy & curiosity, where human beings have the ability to control what it is they feel or see.  

Thomas C. Chung. “It Was Like Seeing A Fallen Rainbow…” Exhibition view at Galerie pompom

Your video artworks are characterized by a slow tempo that suggests a relaxed observation. In our times of limited attention span and an overflow of media content, would you say that we need to take more time to observe our surroundings? In your opinion, does art create this space for observation or is it also caught in the spirit of fast-paced consumption?

That’s quite a complex one to answer. And that is a great question. I value the time I take to see the world unfiltered from electronic devices & media. Much of that is due to my not being attached to technology as early as others may have been. For example, the very first mobile phone I got was when I was 34 years old; I remember even thinking what a selfie of myself looks like. 

Until then, I spent a significant portion of my life turning up early to meet friends or acquaintances (if they were over an hour late, I would leave), keeping promises that I had kept & looking at the sky to tell the time. 

Art has always been a good reflection of our times, like a visual newspaper that begins & starts intriguing conversations before leaving it to others to visit, fulfill, react, or enjoy. The fast-paced consumption of our current world is an accurate indication of that, with the growth of digital art increasing among the masses.

Thomas C. Chung. “As Far As I Could See…” (II), 2023

You are studying to become a psychotherapist and draw inspiration from this knowledge to create your artworks. Do you intend your artworks to visualize or reflect upon states of mind, or do you wish them to become therapeutic objects, sparking certain emotions or thoughts that might have a healing quality?

This one made me think – thank you for that. My intention as an artist is to engage with everyone, but whether or not it connects with others is something I can’t control. Delving into the mental health field as a future psychotherapist, the purpose of whatever I create – however the audience receives it – there’s no right or wrong answer, just an open story. Food & landscapes have always intrigued me in this particular way. Some people love certain aspects or locations, while others dread it. Some people love a specific type of food but not others. No one person has the same reaction to different things & that’s what is so fascinating to me, to see life through the eyes of another human being.   

When I create, I have a particular concept & narrative for it, but ultimately, if the audience would like to enjoy it without any background or story, that is also up to them. Viewing Art, like watching any movie, reading a book, or tasting a special menu, is very subjective. 

“I’ve purposefully given artworks a title that invites an audience in…much like an open door to a gathering or party.”

You have mentioned your role as storyteller. How do you guide the narrative, from the title of the artwork to its description and the story that unfolds in it?

I’ve purposefully given artworks – particularly new bodies of work – a title that invites an audience in…much like an open door to a gathering or party. I grew up in an environment where Art was rarely seen as a necessity, so I knew the task for an artist was to be as engaging as possible – if not with their personality, then at the least with their artworks. Often, the title reveals a lot to the viewer & this should always be considered. 

Once the artwork has been created & the title carefully selected (I have a list of names for potential artworks), it unfolds as an individual experience. Once invited, I leave the guests to wander around to enjoy the ambiance of it. 

Thomas C. Chung. “As Far As I Could See…” (III), 2023

You are exploring “emotional landscapes.” Coincidentally, this is a term used by the singer Björk in her song Jóga, in which she refers to being puzzled by emotions and undergoing a healing process. Is this how you understand your exploration? Or is it more of a distanced observation? 

Oh – how wonderful. Thank you for this observation. I’ve been a big fan of Björk for many years, especially when I was younger…yet I never put the terms together like you did. I love this connection. I know the words ’emotional landscapes’ popped into my artistic practice at a time when I noticed how viewing one place or space brought out differing reactions & sensations in others. A lot of this stems from my studying in psychotherapy, where no one situation is identical, although similar when answered by participants or clients. For some, this exploration could be seen as somewhat distanced yet intimate. The space in front of us isn’t necessarily a gauge for how close one feels towards something. 

“These artworks point to a departure from childhood innocence, but also to longing for the past in a way that color cannot achieve.”

The series of artworks you present on Niio address the ability to find hope during times of hardship, which is something that everyone can relate to. The aesthetics and elements in them point to a more sombre, even melancholic atmosphere. Would you say that these artworks represent a coming of age, leaving aside the innocence of childhood and confronting the hard truths of adult life?

This series with Niio is particular in its aesthetics & I chose a black-and-white palette to illustrate this story. I’ve always found the limiting of colors to be very intriguing. I love to watch vintage movies because they have a very special quality. Sometimes, it can feel melancholic, while at other times, it can feel deeply romantic. These artworks pointed to a departure from childhood innocence, that’s for sure, but it also alludes to the longing for the past in a way that color cannot achieve. I wanted to insert an intangible without stating something obvious so people could have their journey & time to think for themselves.

Florence Lefebvre: Marine Emotions

Niio Editorial

Florence Lefebvre is a self-taught French digital artist whose practice emerges from a lifelong dialogue with the sea. Growing up with formative summers in the South of France and later observing the shifting coasts of Normandy, Brittany, and the North Sea, she developed a deep sensitivity to tides, light, and movement. What began as hours spent underwater with a mask and snorkel evolved into a visual language built from fluidity, rhythm, and transformation. Today, she translates these marine memories into immersive digital compositions, describing herself as a “digital explorer” navigating an ocean of pixels.

Following the launch of her solo artcast Waltz of Flowers on Niio, we had a conversation about her creative process and the sources of her inspiration.

Florence Lefebvre. Waltz of Flowers #1, 2022

You have stated that your work draws its inspiration from “marine emotions.” Could you share with us a specific memory, place, or marine sensation that continues to inspire your work today?

For me, the sea is an emotional language: an endless immersion where fluid, uninterrupted movement inspires my digital exploration.

Every summer, during long family holidays in the South of France, I discovered my first wonders beneath the surface of the water. Equipped with just a mask and snorkel, I spent hours exploring this secret realm, fascinated by the light filtering through the waves and the shifting reflections. The green of the seaweed rippled gently, while fish, their hues ranging from red to orange, then to blue and silver, moved through this world like a living dance. These moments instilled in me the beauty of rhythm, color, and movement—essential elements of any artistic composition.

My creations immerse us in a universe where art transcends the boundaries of the canvas!

Even today, I regularly observe the beach and the sea along the Normandy and Brittany coasts, as well as in the North Sea, where the tides constantly create new patterns on the sand and alter the dance of the waves. On winter mornings, on calm or windy days, I watch the light change with every moment: the sky merges with the sea, clouds stretch to the horizon, and sometimes silvery reflections illuminate the surface. I feel fully connected to this shifting space, attentive to every ripple of the water and every variation of color brought about by the tides.

The sea has taught me that nothing is fixed, that everything is fluid and transformative. In my digital ocean, each pixel becomes a grain of sand to explore!

My art is a dialogue between the real and the digital, where each composition carries the memory of an inner journey that continues endlessly!

Florence Lefebvre. Stellar Melodies, 2025

In your work, you prioritize contemplation first, then mastering the production process. What does “contemplation” look like in your daily practice?

For me, contemplation is an active immersion, the starting point of all creation. It always begins far from screens, with careful observation of nature. I am deeply moved by the spectacle of the tides and the perpetual movement of the waves.

My approach unfolds around three axes: flow and energy, forms and textures, and time for reflection. By exploring the Normandy and Brittany coasts, I capture the metamorphosis of the shores under the action of the sea, the power of the waves, and the fluidity of their movements. I linger on the rhythms of the water, the undulations of the sand, the contrasts between rock and sea, building a repertoire of sensations that I then transpose into my digital creations.

“It is during my walks along wild coastlines that my works take shape in feeling, before technology becomes an extension of my gaze”

The settling time involves knowing how to detach oneself from the digital world, allowing these impressions to organize themselves internally. It is during my walks along wild coastlines that my works take shape in feeling, before technology becomes an extension of my gaze, transcribing into images what the sea has whispered to me.

My art is thus a dialogue between the real and the digital, a perpetually transforming flow, where each pixel mirrors an instant, as a grain of sand carried away by the tide.

When did digital creation become the medium where you felt you could “fully” express your sensitivity, and what did it reveal that other forms did not allow?

One day, I embarked on this artistic quest of creativity and exploration as a self-taught artist, using whatever tools I had at hand. I explored, tested, observed, experimented, and created with passion, fascinated by the possibility of bringing to life the movements, textures, and colors I had observed in the sea since childhood. This moment remains very important to me because it marked the beginning of an intense period of artistic creation. I instinctively grasp computer tools and naturally become familiar with them, while working regularly and rigorously, which allows me to acquire technical mastery of the software. It’s a passion fueled by daily exploration, research, and creation.

Digital creation became a universe for me where I could fully express my sensitivity when I felt the need to translate the flows, movements, and nuances of nature in a more immersive and vibrant way. Unlike other traditional forms, digital art allows me to capture the fluidity, light, and rhythm of my marine memories, to create subtle movements, infinite oscillations, and to experiment with variations of color and texture that paper, canvas, or sculpture don’t always allow.

Throughout my exploration, I also developed a passion for flowers, which I animate like moving paintings, creating a dialogue between nature and digital art to produce living, poetic works.

“Unlike other traditional forms, digital art allows me to capture the fluidity, light, and rhythm of my marine memories”

This creative space has revealed to me that emotion can be immersed, amplified, and reinvented; that each pixel can convey a feeling; and that the interaction between the real and the virtual opens an infinite dialogue with the viewer. Where other forms could freeze a moment, digital art allows me to bring movement and transformation to life, to recreate the memory of ocean currents and the dance of the elements, while remaining true to my vision and artistic intuition.

Since then, I’ve defined myself as a digital explorer, approaching the screen as an ocean of possibilities. Each video I create becomes an immersive atmosphere, where every shape and color contributes to the experience and the feeling, offering a dialogue between the real and the virtual.

Florence Lefebvre, Waltz of Flowers #3, 2022

Your work often revolves around “digital fluids and forms.” Are these abstractions meant to evoke water, emotions, memory, or something else?

I work with digital fluids and forms to translate what I feel in the face of the sea and life, rather than representing the world literally. Water, with its fluidity and oscillations, becomes a central metaphor: it evokes movement, emotion, memory, and transformation.

For me, digital art is a space of infinite exploration, where each work can evolve, reinvent itself, and engage in a dialogue with the viewer.

I create dynamic and evolving fluids, where each element transforms and interacts across multiple dimensions. This universe allows me to explore inaccessible realms, where movement and color harmonize perfectly, offering the viewer a true escape.

“My goal is for the artwork to transport the viewer, transforming their contemplation into a unique emotional experience.”

Each work is born from a subtle balance between observation of reality and digital exploration. Waves, currents, and ocean currents inspire my rhythms and textures, but these elements are reinvented as free abstractions, capable of conveying the flow of an emotion or the memory of a moment.

My goal is for the artwork to transport the viewer, transforming their contemplation into a unique emotional experience. Each creation is designed to resonate with the space around it and invite everyone to feel emotion, a memory, or a sense of escape.

My works thus become a space for exploration where the viewer can perceive movement, color, and depth, while giving free rein to their interpretation. Digital fluids are therefore not just water: they constitute a visual language that evokes feeling: a dialogue between real and virtual, memory and emotion.

Florence Lefebvre. Slime 3, 2022

You mention algorithms and multidimensional composition. How do you reconcile control and emergence, and at what point do you want surprise to appear in the image?

In my work, control and emergence interact like two complementary forces. The algorithms integrated into the software allow me to structure my creations, to define the rhythms, textures, and movements I want to explore.

However, I always leave room for surprise, because it is often in the unexpected that the most poetic and vibrant moments are born. Sometimes, a flow reacts differently, a color blends differently, a ripple forms unexpectedly: these moments become creative triggers that I then choose whether or not to incorporate.

I then become a conductor, or rather a captain: I steer my digital compositions with intention and mastery, while leaving the necessary space for emergence. “Ctrl+Z” becomes my magic wand: surprise is no longer a constraint, but the wind that fills my sails toward the unknown, transforming the unpredictable into an opportunity for exploration!

Florence Lefebvre. Flowergraph, 2022

You speak of linking contemporary life to the “cradle of primitive life.” What does “primitive” mean to you: biology, mythology, evolution, spirituality, or a psychological state? Your goal is to represent “the depths of the subconscious.” Do you start with an emotion and then find an image for it, or with an image to discover the emotion later?

I perceive the primitive as the vital force that animates the entire universe, a cradle of life that is simultaneously biological, instinctive, and psychological. It is this raw energy that flows through nature, from ocean currents to distant stars, and that inspires creation. My approach is akin to a biology of the imagination: an exploration of matter coming to life, where instinct and memory intertwine with digital technology.

My goal is to represent the depths of the subconscious, where emotions and memories converge. Sometimes, I begin with an emotion, allowing it to percolate and transform into image, form, and movement; sometimes, an image emerges spontaneously, revealing the latent emotion it carries. In all cases, the unexpected becomes the raw material of creation, and the primal, a living and inspiring source.

The orchestration of my digital fluids allows me to create shifting, dreamlike worlds where life, poetry, and the invisible meet. I explore the infinitely small with works like “Infinitesimal,” observing digital fluids under a microscope.

In my series ‘Abyss’ and ‘The Secret of the Abyss’, the ocean depths mingle with the subconscious, giving rise to abyssal creatures that I call ‘Abyss’, born in the heart of these depths and bearers of the mysteries of the ocean. Finally, the celestial journey with the “Nebula” series connects the ocean depths to the most distant stars, continuing this quest for energy, cosmic fluidity, and infinite reverie.

Digital art offers me immense freedom of exploration, a boundless, dreamlike, and ever-shifting universe where the invisible becomes visible and the unexpected transforms into living inspiration.

Florence Lefebvre. Confusion, 2022

A significant portion of your work is abstract, dominated by fluids and fluidity, with some references to nature. However, some of your most recent works, created with AI models, lean towards figuration, with scenes reminiscent of street art and early hand-painted photographs. What does AI bring to your creative process that has motivated this evolution towards figurative compositions?

AI is primarily used in my work when I explore figurative art. It allows me to develop scenes, characters, and visual worlds that I explore through various themes, from street art to early hand-painted photographs, including sketches reminiscent of drawing or comics.

I use it as a tool for shaping and experimentation: I define the intentions, adjust the parameters, select, refine, and rework the images. The AI ​​generates suggestions, but the vision, direction, and aesthetic choices remain entirely my own.

“Working with AI is not a change of direction, but an expansion of my artistic language, where each work, with its own tools, contributes to the same vision.”

What interests me is not just the speed of execution, but above all the possibility of exploring a wide variety of subjects and styles without hindering the creative flow. Where my passion for digital fluidity explores colors, flows, geometric shapes, and multidimensional interactions, AI allows me to introduce a narrative dimension.

The common thread remains the same: life, color, and the subtle connections that interact with each other.

This is not a change of direction, but an expansion of my artistic language, where each work, with its own tools, contributes to the same vision.

Florence Lefebvre. Pop Culture, 2022

You stated that your work transcends the canvas, incorporating 3D and movement. What is your ideal viewing context: phone, large screen, installation, home space? And how does this context influence the perception of the work?

My work transcends the traditional canvas, incorporating 3D, movement, and an immersive dimension. I design my pieces to be felt in space, not just seen.

The viewing context plays a central role in the perception of the work:

  • Large screen or projection: this is ideal for fully experiencing the fluidity of movement, the depth of textures, and the Waltz of my flowers. The viewer is immersed in the universe I have created. The animated flowers, which I conceive as moving paintings, reveal all their subtlety, creating a poetic and immersive dialogue between nature and digital technology.
  • Installation or dedicated space: the artwork engages with its environment, and the viewer becomes an active participant in the perception, moving around the piece, discovering details and dynamics depending on the viewpoint.
  • Phone or small screen: even on a smaller screen, the artwork retains its power. Some details or subtleties of movement may be less perceptible, but the experience becomes more intimate, offering a direct connection that integrates into the viewer’s daily life.
  • Everyday setting: the artwork interacts with the rhythm of life and the environment, creating an emotional resonance where the digital and the living meet in everyday life.

Thus, the format and context influence how movement, depth, and narrative are perceived. I aim for a subtle balance between individual connection and total immersion in the world of my artworks, respecting the fluidity and energy of each piece, so that the viewer can fully experience the movement, color, vibration of the flows, and the digital life I seek to convey.

Florence Lefebvre. Waltz of Flowers #2, 2022

Regarding the context of experiencing the artwork, how do you think Niio and other companies that distribute digital art on public screens can benefit artists and art lovers? What has been your experience of presenting your work on digital screens in public spaces?

Niio displayed two works from my collection, “Waltz of Flowers” and “LINK,” on a high-quality screen at an event in a prestigious hotel. This was an enriching experience, as it allowed a wide audience to discover my creations and perceive the interaction between digital art and space. Seeing artworks presented on screens demonstrates how essential these exhibitions are in making digital art accessible and introducing it to a diverse audience. They also allow me to reach sometimes unexpected viewers who might not otherwise have had the opportunity to encounter my work.

Platforms like Niio and other companies offer artists the opportunity to showcase their work in diverse contexts, where it can come to life and be discovered in a space accessible to all.

Being exhibited in varied venues and environments is an enriching and unique experience, as each presentation, regardless of the type or size of the screen, allows the artwork to reveal itself differently depending on the space and the audience, while also contributing to the artist’s career and professional development.

“Platforms like Niio and other companies offer artists the opportunity to showcase their work in diverse contexts, where it can come to life and be discovered in a space accessible to all.”