He propped up the axis of time. By the oil lamp was turned on and off, it was like a transition of various artistic genres, coveted and shuttled between time and space. The canvas flowed, beyond logic, carries on a dialogue between modernity and the past. In an instant, a thousand years passing by, with the words "He has been here."

He has been here. Familiar to post-modern vocabulary, South Korean video artist Lee Leenam creates the dynamic characteristics of images to present a glimpse of "past and present", "natural and artificial" in his video. He symbolized the masterpieces, referring to the classic paintings and masters in history. As the elements of the image screen, the scenes of the masterpieces are interwoven with the past and the present to form a moving "canvas", making the modern and the past go beyond logic. Lee Leenam changed the frames of the screens of his work to imitate a picture frame, which made the work between static and dynamic, inspiring specious visual impressions of the audience. These characteristics form Lee Leenam’s unique post-modern interpretation, and also enable him to use screen machinery as a medium, responding to Walter Benjamin’s saying“The aura of artwork will eventually fading with mechanical copying."

Lee Leenam continues to challenge the existing visual experience and familiar impression of masterpieces with videos. The "boundaries" of various dimensions have been redefined by the artist. Through video works, Lee Leenam responded to Benjamin's prediction with his declaration: "The aura of art will not disappear." The artist uses his own imagination to give the world a new visual experience, reinterpret the art classics, and create new post-modern fables. In the age of mechanical reproduction, the creative spirit is lit. They have been here now, in the eternal future.

Lee Leenam once mentioned that "all living objects will eventually disappear." But through the screens that have passed by in his video works, the objects that have survived are all shining in the long river of history with an immortal artistic aura. Just like Lee Leenam’s latest work "Reborn Light-Songhamang Falls-2019", he uses the "Songhamang Falls" by the late Korean water-ink painter Jiang Yiwu as the latitude of the region. The sporadic human activities suggest the beginning of civilization. Time is the axis, interspersed with the characteristics of various ancient and modern art and the memories of civilization. He quoted the man with a hat in René Magritte, who propped up the axis of time. When the oil lamp is turned on and off, it seems like the transition of various artistic genres, which is like a crossover, changing at any time.

"Reborn Light-Songhamang Falls -2019" is like a carnival of Lee Leenam 's post-modern video art. On the oriental landscape paintings, the Laocoon and Brancusi sculptures ride a spaceship across the screen; thought the Bodhisattva and the Seurat's boy flew towards each other on a torpedo, and the flying saucer approached, interspersed with multicolored fluorescent lights, which symbolized the brilliant artistic charm of human civilization, and appeared freely in the picture. The oil lamp is like the switch of time. The last scene is calming down. Seagulls soar into the sea. Magritte’s apple hints at an unknown and hopeful future. How many wonderful things will emerge tomorrow?