The Story
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Designing Metaphor

A Towering 9/11 Remembrance
The Washington Times

Lumbering Triumph
The Washington Post

A Show With a Good Sense of Humor
The New York Times

Wood Artist Arrives at Scott White
San Diego Downtown News

Looking at Where We Are

Journey

Tangible Reality

Nothing Hands-Off About this Installation
The Washington Times

Primordial 'Journey' into forms
The Washington Times

校舍外置鋁瓶 宣揚街頭藝術
明報訊

FLOW: The landscape of migration
Sculpture Magazine

Journey2
Heineman Myers Contemporary Arts

Foon Sham at Project 4: (Phone) Book Smart
The Washington Post

Modern Twist to an Age-Old Idea
The New York Times

Breaking Down Walls
San Diego Union-Tribune

Foon Sham, Greater Reston Arts Center, Reston, Virginia
Sculpture Magazine

Joining the Human Race

Flow

Introduction to Flow

"Travelogue" at Carroll Square
The Washington Post

JOURNEY2
Sculpture Magazine, November 2008, page 72
By Sarah Tanguy
Heineman Myers Contemporary Arts

Journey, a concurrent show at Heineman Myers, surveyed his indoor sculpture as a complementary form of personal discovery. In particular, Passage 2 and the maquette, Abstract Form, emphasized his keen design and his passion for wood and joining parts, along with his ongoing exploration of inside and outside. The maquette attested to Sham being able to create successfully on any scale and have a small work feel monumental. It also expressed his ability to produce marvels of engineering and association. In this case, the double curve of its staggered contour suggested an architectural or topographical structure in motion, as well as a geometric version of the face in Edvard Munch’s Scream. The presence of occasional Lucite blocks amidst the wooden ones lent translucency, their light-reflecting surfaces in dramatic contrast to the dark passages of the fissure and interstices. The mixing of different colors within a warm, natural palette reached a new high in the curvaceous Passage 2, which alternated closed courses of Australian Red Gum and various species of hard wood. Here a curved wooden “dowel” linked a tall, standing component with a second one that met the wall at a slight incline. From the side, the work evoked water flowing downward from a smaller to a larger vessel, even as it played with our sense of gravity and balance. Both shows highlighted Sham as a master stacker, with a nimble mind and agile hand. In Buddhism, flow refers to an expanded state of consciousness and his Reston installation certainly conveyed this openness to change and transformation. An extended ritual, repeated but never quite the same, the collaboration gave his interest in physical joints a spiritual dimension. Even more, the work inspired lasting joy. From mass-produced materials to individual expression, it celebrated the participation in something larger than oneself and the satisfaction of communal creation. Art historian Sarah Tanguy lives and works in Washington, DC.

 

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