Chelsea

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other view of the piece, which in large part is what this work is about.  Sham�s content is defined by the concept that sculptural space and environment constantly shift as they interact  yet are completely interdependent.  Neither is permitted to dominate and both support as well as contradict each other.

Add to this that the artist is also focused on obsession as a medium by obsessing on his medium.  If spatial concerns were all that Sham was interested in these works could have been more quickly and easily produced via other materials and methods. But the interest in small bits of material constructing the whole contributes to the meaning of this work as much as how the forms relate to space. It makes perfect sense that the materials are left in their natural condition because to paint them , for example, might otherwise

Foon Sham, Hatch, 2004, walnut and miscellaneous woods, 43 x 128 x 21 in

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Foon Sham, Twist, 2003, walnut and juniper, 30 x 56 x 12 in

distract from what they are and how they are used.  Hatch and Twist also bear out this latter aspect as represented in simpler forms. Twist is constructed of nothing more than a piece of juniper compul- sively bound by rings of walnut.  Immediately it suggests some sort of generic metaphysical narrative; an arm with an amulet just below an elbow for example.  It is also the only work  in the show that utilizes a single piece of wood as a major part of the sculpture.

A walk through this virtual forest of ideas raises all sorts of associations that span primitive to contemporary art.  This is perhaps the greatest aspect of Foon Sham�s art - the ability to effectively cover so much ground so simply and elegantly.  And let�s not forget that these pieces are beautiful to look at; both up close and from a distance.

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