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An intricate spread of natural and engineered matter spans SI’s 2nd floor. Amongst soldered twigs adorned with handmade glazed ceramics, mist-emitting orbs, stones and bells sits a cast of “Coplees,” small mechanized creature-devices that flutter and crawl when powered by electric circuits and the sun’s rays. Park arranges the scene in correspondence with the astral map directly above SI. A tuning fork’s crystalline chime signals the beginning of this entropic ballet, in which the Coplees are set in motion. As they approach and pass an array of theremins, the room swells with sound. An impromptu concerto fueled by hybridized solar and electrochemical energy, the movement of the audience and the inanimate objects, acted upon by external forces, ebbs and flows, ending only when the Coplees lose their charge and come to rest. Where they lie will dictate the installation’s final form.

The relation between the duration of a life and the duration of a lifeform’s total decomposition is of interest to Park, who here orchestrates an enchanting study of decline, expiry and what literally lies beneath when life ends, be it a built structure or raw earth. The action at SI unfolds atop an expanse of cardboard stamped with laser-cut images of Park’s sculptures, as well as images of fossils sourced from digital archives. What is preserved, absorbed and transformed by the terrain of this planet is repeatedly represented by Park’s stamps. In this way, afterlives are omnipresent in Murmuring in blue kaleidoscope. When living things stop living, they begin the interminable process of becoming energy once again. 

Daniel Merritt

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