Park Junebum creates works of a distinctively unique formalism. In fact, critics like to use this term to describe his works, because they consistently find a number of methods or subset of these methods running across them. The visual and recurrent characteristics of Park’s formalism, however, are only part of the story. The dominance of formalism is also mediated by the relationships between and/or the working mechanism of formalistic elements. Park’s camera looks straight ahead bringing significant depth of view into the two-dimensional frame. In that frame Park likes to place a part of his body, namely his hand, which manipulates an excavator, constructs a building, and controls the movement of cars or pedestrians on the crosswalk. Thus, the perspective of the optical device as the agent and the perspective of the artist or the spectator as the agent coexist in his work. Another interesting aspect of Park’s work is the changing nature of performance. For example, his performance in 1 Parking (2001) and 3 Crossing (2002), two of his most prominent works, is mimicking in the style of mime, whereas in Warp Gate (2002) and Making an Apartment (2004) he creates images. Park distorts perspective to make the implausible a reality, while at the same time presenting a repetitious and skillful yet very playful physical performance. These are some of the ways in which he manipulates installation and presents a staged performance to tinker with the scale of things. Park brings out the reality that cannot be captured in the time dimension we are used to by slightly speeding up or slowing down the filming and by repeating images during the editing process. Bicycle (2005) is a good example of his manipulation of time dimension.