Kim Farkas's hybrid, techno-organic sculptures and wall objects evoke science-fiction aesthetics and are imbued with various cultural narratives and rituals. The Paris-born artist, who is of Peranakan and American descent, scans his environment and gathers references that he sees as part of a circular economy of appropriation of cultural codes between different communities. In this way, his sculptures materialize diasporic individuals composed of layers of memory, geography, and economic flows by swallowing various found objects from the real economy of goods and commodities (such as joss paper, dice, mahjong tiles, reiki stones, etc.), which are ultimately reinjected into the symbolic economy of his own sculptural work.