DOOSAN Gallery New York is pleased to present the first part of Joo Yeon Park’s solo exhibition Echo of Echo. Echo in the exhibition title refers to the classical mythological figure in Ovid’s love tale of Narcissus and Echo in his Metamorphoses. Park’s fascination with the limits and potential of the mediated language of Echo’s repetition of Narcissus’s last words and the metamorphic materiality of Echo’s bones, which turned to rocks, is closely related to her exploration of the inscrutable movement of languages and their possible transfiguration.

The artist does not limit herself to a particular medium or a method of working, but her works in the past few years are largely of two types: lens- and light-based artworks, such as film, photography, and slide projections; and writings that recall poetry and drama in their form. Movements between plural mediums, languages, and locations inform much of her work. Thus, among other, the black-and-white stereoscopic photographs of skies taken from airplanes between locations, part of an ongoing series, are doubled, inverted, and joined in pairs; typewritten texts on dictionary paper are duplicated by carbon copy paper inserted between pages; a found slide is simultaneously projected onto multiple surfaces such as a sheet of glass, a wall, and the abandoned concrete sculpture that she found when she moved into a new studio; a film shows a woman holding a piece of mirror reflecting the sunlight into the camera lens that is in a continuous repetition of appearance and disappearance; and unresolved disagreements between the artist (author) and the editor on her essay are suspended on underlines, recalling fragile scaffoldings of language architecture. Even the two-part exhibition itself is a work of disjunctive movement: the second part, opening in Seoul in September, echoes the first part with a time delay.