CINGS Spotlight: From Poetry to Sonic Journeys, Chamberlain Zhang on Sound, Perception, and Community

From writing poetry infused with sound and visuals to crafting immersive sonic landscapes, Chamberlain Zhang has carved a unique path as a sound artist and experimental musician. Using sound as a medium to narrate stories and transport listeners, Chamberlain explores the boundaries of human perception beyond physical time and space.

For Chamberlain, CINGS (China Institute Next Gen x Serica) is more than an organization; it’s a foundation for the future. “I’ve always wanted to belong to a trusted community, and CINGS embodies that for me. Together, we’re building something that will last generations. We are the architects of this movement, and it’s a lifelong commitment.”

This CINGS spotlight delves into Chamberlain's journey, inspirations, and dedication to sound as a transformative art form.

Q1: Can you share the journey that led you to become a sound artist?

I’ve always been drawn to sound. During my undergraduate studies in English literature at Syracuse University, I was immersed in writing—poetry, fiction, nonfiction—you name it. I quickly realized poetry was my medium, and I presented my work through poetry readings, often accompanied by live sound scores and visual elements to deepen the experience.

And fast forward, this realization led me to Mills College, where I collaborated with choreographers and musicians in an environment that fostered improvisation and composition.

One of my professors noted how much sound existed in my poetry and encouraged me to explore beyond text. At the time, I was deeply inspired by electronic music, techno, and experimental compositions. It felt like a natural progression to pursue sound as a primary medium.

Q2: How would you define experimental music?

As an artist, I’m focused on sound itself. Music and sound, to me, are distinct. Traditional music is often melody-driven, whereas experimental sound is more like architecture. We work with layers, frequencies, and textures to construct sonic spaces and craft narratives in real time.

There’s a difference between hearing and listening. With experimental sound, we invite audiences to engage deeply, to actively direct their attention and perception. It’s about pushing the boundaries of how humans perceive and interact with sound, exploring its outer limits during every performance.

Those experiences expanded my understanding of sound as an art form and helped shape my current practice.

Q3: Your live film scoring projects bring new life to historical films like 小太阳 and 盘丝洞. What draws you to these works, and how do you connect past narratives with contemporary audiences?

These projects are some of my favorites in recent years.

Chamberlain was invited by e-flux, a Brooklyn-based publication and archive house he deeply admires, to create live scores for these iconic Chinese films.

The intersection of music and film has always fascinated me. For this project, I curated a live DJ set, weaving together electronic music by Chinese composers while watching the films and composing in real time. To create a compelling film score, you have to immerse yourself in the film, studying it repeatedly to strategize how sound and frequencies can amplify specific moments.”

I strive to take the audience—and the film itself—to the furthest places they can go, sonically and emotionally.

Q4: What inspired you to apply to CINGS?

I’ve always felt a strong urge to create something for our community. In most music-related spaces—whether performance art institutions, entertainment venues, or underground music circles—Chinese curators, promoters, or directors are noticeably absent. CINGS gave me a platform to not only produce high-quality, performance art-focused events but also connect with people from diverse backgrounds.

Chamberlain is going to headline and DJ for the upcoming CINGS X Chop Suey Club Lunar New Year Party. More info here.