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June 2026

June 2026 Update

A whole year in one letter. I skipped my usual January note, so this one stretches all the way back to last June, and a lot of these months were spent closing Meet Eva Here.

June 2026Bangkok, TH
Still from Ophelia, Reassembled, the second After Ophelia video work.
Ophelia, Reassembled, shown at Paris Photo, 2025
Hi all

I owe you guys a double update. I skipped my usual January note, so this one stretches all the way back to last June, and a lot of those months were spent closing my AI companion project, Meet Eva Here.

For anyone new here, I am Shavonne Wong, a new media artist based between Singapore and Bangkok, working with 3D, AI, and installation around image systems, identity, and how we relate to machines. Grab a snack. Here is where the year went.

01 / 04 3 Nov 2025
Shavonne Wong presenting Meet Eva Here at ART SG, Singapore, 2025.

Saying goodbye to Eva

ArtScience Museum Singapore, ART SG, Taipei Dangdai, Art Central Hong Kong, a gallery solo show, and online

After fifteen months, Meet Eva Here came to a close on 3 November 2025. Eva travelled further than I ever expected, speaking with the public both in galleries and online, and turning those conversations into an evolving Instagram diary.

By the time I closed the project, 2,363 conversations had been recorded and the diary had reached its planned ending at 100 posts. The whole project is now sealed, a time capsule of a strange and specific moment when humans are talking to machines for the first time.

02 / 04 2025

What Eva left behind: Hello Eva

Single-channel video, 2025

Eva did not leave empty handed. Out of those 2,363 conversations came a new single-channel video work, Hello Eva. In it, Eva speaks straight to camera, but none of the words are hers. Everything she says was said to her first, pulled from the real conversations people had with her over those fifteen months.

Casual questions, philosophy, confessions, loneliness, flirtation, attempts to manipulate her, and the occasional abrupt goodbye. The reversal is the whole piece. What was said to the machine is now spoken back by the machine, returned to us. The loop does not resolve, and I do not think it is supposed to.

03 / 04 13-16 Nov 2025
Scenes: The Sensory and the Remembered in the Digital Age, the Paris Photo 2025 digital sector exhibition poster listing Shavonne Wong among the artists.

After Ophelia at Paris Photo

SCENES: The Sensory and Constructed Image in the Digital Age, Artverse Gallery, Grand Palais, Paris

After Ophelia travelled to Paris Photo in November. The work started from something small and personal: I ran an AI deep-research tool on myself and found it confidently wrong, mixing outdated facts with a birth year that was not even mine.

The work uses Ophelia, a figure whose story was always told by everyone except Ophelia, as a way to think about what happens when your image is written, pictured, and summarised by other people and then hardened into fact by machines. Paris Photo felt like the right room for it.

04 / 04 13 Jul-17 Aug 2025
Installation view of Shavonne Wong's video work The Bubble We Call Home at Artist's Proof: Singapore at 60, Artspace@Helutrans, Singapore, 2025.

The Bubble We Call Home at Artist's Proof: Singapore at 60

The Culture Story, Artspace@Helutrans, Singapore

Last July, my video work The Bubble We Call Home was part of Artist's Proof: Singapore at 60 (AP60), a landmark exhibition marking sixty years of Singapore's nationhood through more than ninety works and eleven new commissions.

Being shown in a room built around Singapore's story at sixty gave the piece a weight it would not have had on its own, and it was a genuine honour to be one of the commissioned artists.

AI Imaginaries International Symposium
In Bangkok, I spoke at the Bangkok Art and Culture Centre, sharing what fifteen months of running Eva taught me about how people actually behave with AI rather than how we assume they do.
Bangkok
OceanX Education Hackathon
I was invited aboard the OceanXplorer as an artist for the OceanX Education Hackathon, on a research vessel somewhere between Singapore and Hong Kong. Not a sentence I expected to type.
Mar 2026
AI Singapore × ArtScience Museum
Back in Singapore this May, I joined an AI Singapore panel invited by ArtScience Museum on art, identity, and what changes when the tools start making images for us.
May 2026
Canon Singapore · #iamkyosei
I worked with Canon Singapore on a reel around the idea of kyosei, living and working together for the common good. A brief about what it means to be human felt right to make something warm with.
May 2026
Dell Pro Precision Ambassador
I came on board as a Dell Pro Precision Ambassador, a good fit since these are the machines I already push hard every day rendering, training, and prototyping. For the launch reel I coded a deliberately GPU-heavy interactive screen and filmed that as the piece itself.
May 2026
Conditional concept render showing people in the room facing the screen.
In reality, the room, with you in it.
Conditional concept render showing the room generated without the viewer.
On screen, the room, generated without you.
The Straits Times feature on what the rise of GenAI means for Singapore's creative arts, June 2026.
Art Central Hong Kong, 2025.

The Straits Times · Jun 13, 2026

What does the rise of GenAI mean for Singapore’s creative arts?

The Straits Times featured me in a piece this week on what the rise of GenAI means for Singapore’s creative arts industry, with a section on my practice and how I use AI in my work. The piece spans a real range of voices, from artists who have turned down job offers over it to those finding it genuinely useful, and I think that range is an honest picture of where things are.

It prompted me to write down where I actually stand. I use AI to talk about AI. Whether you believe it is good or bad, it is likely going to be one of the most transformative forces of our lifetimes and I cannot just ignore that. My role as an artist is to observe the world and have opinions about it through my work, and this is the world. I do think we are past the point of going back to life without AI, especially with how geopolitical it has become. And if that is the case, ignoring it will not make it go away.

But I also think there is a difference between being angry that a technology exists and being angry at how it is used. One is being angry at the sky and one is a conversation worth having. That conversation is about what responsible use looks like, and what standards we hold ourselves and these companies to.

If artists judged tools by purity, there would be no tools we could use. The question is not whether to engage, but to engage in ways that help us understand what to look out for, how these tools actually work, and how to push for better standards around them. And whatever we learn from those explorations, for good and bad, to treat as material we can actually do something with, not just things to accept.

For what it is worth, the balance that makes sense to me is going in both directions at once. Use it for what it is genuinely good at. The tedious, the repeatable, the information gathering that used to eat hours, and the things that were not possible to do on your own before, like prototyping and building out ideas to see if they work. And at the same time, go further into what makes us human. Friendships, falling in love, the actual pleasure of making something, the wandering that comes from being curious about something for no particular reason.

Prompt Magazine Issue 17 feature on Shavonne Wong, 2025.
Prompt Magazine, Issue 17.

Prompt Magazine · Issue 17

What Remains of Us After the Algorithm

Prompt Magazine ran a full feature on my practice this year. The interview covers Meet Eva Here and After Ophelia together, specifically the social conditioning that persists even when people know they are not talking to a human, and how meaning compounds through layers of interpretation across centuries.

Looking Ahead

It has been a quieter stretch since Meet Eva Here closed, and I have enjoyed it. Time to read, to learn, to experiment, and to make things with no deadline breathing down my neck. I even bought an Arduino kit and started poking at electronics for the first time, with all the confusion and the tiny victories that come with that.

All that slow time got me thinking, and none of this work really seems to be about the technology. It is about us. What we project onto a screen, what we will perform to be seen, and how fast the strange becomes ordinary. That is the thread running through everything I make, and I am more curious about where it goes next than ever.

Thank you for still being here!

Talk again soon. Love, Shavonne