Videos by June Bum Park (b. 1976, Seoul, Korea) both document his performance as the creator of each work, and expose mechanical aspects in routine activity. Framing a static point of view seen by the observer to a miniature world, Park displays abstract cyclical narratives.

In III Crossing (2002), real-world events on the street at an intersection appear to be manipulated by an enormous hand. Large fingers become the barrier between pedestrians and traffic, as cars are scooted along. A similar illusion in scale is portrayed in The Occupation (2006), which uses photo-collage as a vehicle to demonstrate continual commercial strip mall construction covering a generic green landscape. Emblems of global corporations and cars in parking lots are replaced one after the other, marking territory that is in constant succession. Puzzle 3 (2006) visualizes the samsara of institutional routine and solving of problems, and is projected on the gallery floor emphasizing its aerial perspective. The video chirps with the noise of squeaky desks and sped up voices, as 16 seated individuals are re-ordered multiple times into 5 rows of pastel blue and yellow desks.

Visual cycles of urban and natural systems also appear in the video work of Los Angeles-based Pascual Sisto (b. 1975, Ferrol, Spain). Sisto digitally intervenes with otherwise mundane imagery and crafts mesmerizing, impossible realities. Spatial compositions challenging the logic of everyday events- such as driving a car or witnessing the passage of birds flying overhead- are activated by the artist’s replication and patterning of form.

Sisto’s two-channel installation Push / Pull (my luck is your misfortune) (2006) rearranges seemingly endless lanes of evening traffic into opposing kaleidoscopic video planes. Approaching white lights from oncoming traffic pass in a tunnel-like flow, receding as red tail lights. The two squarely framed video spaces take on a cosmic scale, reflecting physical logic of the Doppler effect, in which red shift occurs in sources of light moving away from an observer. The viewers sit in a suspended state, neither coming nor going, in the space in between.

28 Years in the Implicate Order (2004) loops a single phase of activity based on the concepts of quantum mechanics. Set in an empty parking lot that forms a theoretical late-night landscape, twenty-eight basketballs vertically bounce at random. The spheres then align themselves in a wavelike unified bounce to the ground, only to return again to chaos, as the cycle repeats itself. Also on view, 4 is Better (2004) explores the simple power of multiplicity in rhythmic and biomorphic form. Sea gulls cloned into groups of four travel freely across clear skies, sans horizon line, to the sound of waves breaking at the seashore.