One of the hallmarks of Foon Sham’s sculptural language is his ability to cultivate a fine line between the dictates of his materials and methods and the specific context of his work. Another, which has shaped his career both as a practicing artist and as a teacher, is his dual perspective on the importance of history in his work: fully informed by tradition, he is, nonetheless, remarkably unburdened by its ballast. Though this Chinese-born and Washington, DC-based sculptor has always shown great sensitivity to dominant modes of sculpture, he has been consistently able to step aside from the mainstream in order to address his interests in a deeply individual manner, regardless of the currency of the moment…see the entire article in the print version of November’s Sculpture magazine.
