Baoyang Chen (b. 1989) is an artist who works at the intersection of art and technology. He graduated from Columbia University with a master's degree. Chen's artistic practice originates from his thinking that technology is more than a way of making art, yet becoming a collaborator of the artist. He often hacks the technology by altering its default application, to further fulfill his artistic goal. He also writes about "Technology as Author." By synthesizing our collective experience with the desire to answer the ontological and ethical question of technology, he examines the boundary between us, machine, and beyond, in-between perceptual and embodied space.

His working tools are self-coded algorithms and innovative technics, which can create for extremely chaotic surfaces; nonetheless a certain order stems from the effortlessness with which they are constructed and is ever present. His methodologies use computational formulae to reconstruct the original tableaux in order to spawn new ones. In his works, he wishes to acknowledge a concept of the “impossibility of improvisation” – variation arises from standardizations, which has been essential to his creative thinking and practice.  

Recently Chen composes his works with the throughout investigation of VR and Crypto Mining, as well as surveying mass media's role of connecting the public, the industry, and technology itself, to symbolize the subdivision of our experience with respective technology, in order to distill the broader human technology relationship.

His solo exhibitions include Do Androids Dream of Electric Cows (Gallery Yang, Beijing, China, 2017), The Framework (Cloud Gallery, New York, USA, 2016). He has participated in group exhibitions at a number of institutions and galleries, including Times Art Museum (Beijing, China), the Riverside Museum (Beijing, China), the Power Station of Art (Shanghai, China), the BRIC (New York, USA), The Dedalus Foundation (New York, USA), OpenHand OpenSpace (London, England), Liu Haisu Art Museum (Shanghai, China), Los Angles Center for Digital Art (Los Angles, USA), Wuhan Art Museum (Wuhan, China), National Art Museum of China (Beijing, China), Museum of China Academy of Art (Hangzhou, China), Agora Gallery (New York, USA), Gallerie Huit (Arles, France), Chambers Fine Art (Chelsea, New York, USA), and Wook Choi Gallery (New York, USA).

陈抱阳是一位工作在科技与艺术之间的创作者。他与2016毕业于哥伦比亚大学获硕士学位。他的艺术创作来源于他对于科技不仅仅是一种创作手段的思考——科技如今之于艺术家更像合作者。他经常对现有科技进行修改，不将它们置于产品经理预设的应用场景里，而是将其与自己的创作思维结合。他对于“作为作者的科技”有写作与研究。通过对科技本体论的研究，探寻科技与艺术家及大众之间的关系。

他的创作手段包含他自编码算法和创新的工艺，它们可以创造极其混乱的表面；尽管如此，一定的秩序从“无为”中被构造并一直保存下来。他的方法是使用计算公式依据原始的影像，来重构出新的形态。在他的作品，他坚持“不可能的即兴”这一概念，即变化源于标准化，这一直是他必不可少的创作思想和实践。

近期，陈抱阳在创作中把玻璃迷宫与VR世界错置，突出了现实与虚拟之间的间隙。同时，玻璃结构的内外构建出一组看与被看的关系。在这种关系中，隐喻了科技带来的阶级性。在另一个项目中，他将自己对于crypto的体验，开始思考大众媒介在科技与人关系中的作用——大众媒介如同一个反向过滤器，中间不断的引入重新解读，其中有不全的，错误的，带有市场引导目的“噪音”。有时候，艺术家的创作已经由单纯自我挖掘，逐渐的变为和行业之间的相互碰撞。在此之中，对科技本身的思考，可能可以为避免掉入产品经理的预设提供方法。

他的个展包括仿生人会梦见电子奶牛吗（杨画廊，北京，中国，2017），不可能的即兴（云图画廊，纽约，美国，2016）。也曾参加由BRIC艺术中心(美国纽约)、Dedalus基金艺术中心(美国纽约)、开放空间艺术中心(英国伦敦)、刘海粟美术馆(中国上海)、洛杉矶数字艺术中心(美国洛杉矶)、武汉美术馆(中国武汉)、中国美术馆(中国北京)、中国美术学院美术馆(中国杭州)、Agora画廊(美国纽约)、Gallerie Huit(法国阿尔勒)、纽约前波画廊(美国纽约)及Wook Choi 画廊(美国纽约)等机构举办的群展。