Daseul Song's solo project Lunar Burn: Echo upon Echoes begins at the threshold where moonlight and shadow intersect, where order collides with fracture. The moon is both a mirror reflecting the sun's light and a surface inscribed with scars and fissures. The nocturnal stage it illuminates is not a masculine space governed by rational order, but a zone where dormant ruptures surface and unfold.

Within this project, moonlight functions as a medium that bridges reality and fantasy. It emerges as the beauty of imperfection and deviation, reconstructing scenes of Artemis and the nymphs through glitch—the errors of digital networks. Here, glitch is not a failure but a unit of sensory resistance, a basic element of the digital tapestry that mutates into a dissonant image-narrative.

Lunar Burn: Echo upon Echoes takes as its point of departure the figure of Justine from Lars von Trier's film Melancholia (2011). Conforming to the demands of social normalcy, Justine paradoxically encounters liberation in the face of the irrational event of the Earth's destruction. Song transforms Justine's naked body under the moonlight into Artemis—an autonomous being—and then disperses it further into the anonymous, plural bodies of the nymphs.

The genealogy of Justine—Artemis—Nymphs is more than a mere mythological citation; it symbolizes the continual processes through which identity and corporeality are dismantled and reassembled. Song generates multiple IDs that drive abstract moving images, experimenting with a process of polyphonic articulation.

The project also calls anonymous viewers into the role of "nymphs" through acts of moon tanning and sharing digital skin. As participants pass into the surface of lunar burns—fire wounds, image wounds—they encounter new corporealities and identities through their own bodies. When the scorched skin of moonlight is shared, the space transforms into a temporary festival for the nymphs.

Through this, Song explores the mutability of body and identity, and the interactions of image-data that mediate them, as a way of seeking a new feminine language and community—one that departs from the rational order of contemporary networks and gestures toward other possibilities.