In the depths, one can discern the smoldering discontent about an unjust world between humans and all things. In other words, at moments of ‘enlightenment,’ there is a remarkable uprising of the innate characteristics of plants and animals within the author’s human form. This reflects a transitional phase where human control over the world has exceeded its limits, revealing self-destruction, while at the same time, extreme theories and willpower have culminated into simmering time bombs.

In Nam’s paintings, we see the decree of ‘Mother Nature,’ and the image of a rebirth upon the canvas of destruction. Thus, the act of ‘painting’ includes his past actions of tearing apart several paintings and reconstructing them into new ones. If we examine each detail closely, they are not specific to anything, yet they always show a subtle movement from the mutations symbolizing death and destruction to a significant effort of return, of resurrection.