The invisible vital forces of objects and materials, often difficult to discern with the limited capacity of our senses, guide the plastic and philosophical nature of Eugene Park’s research. A range of tools and synthetic, mineral, and organic substances — calipers, compasses, iron powder, steel, animal fat, clay, and beeswax—are used recurrently for their chemical or electromagnetic properties and their potential for interactivity. In line with theories promoting a renewed consciousness of the tangible and phenomenological world, Park’s sculptural practice evokes how materials function in their own specific ways, autonomously, by disrupting the unfolding of often imperceptible events.
