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Khang Pham-NewUntitled, by Khang Pham-New, contemporary, abstract, granite sculpture, outdoor 2010
2010
About the Item
Untitled, by Khang Pham-New, contemporary, abstract, granite sculpture, outdoor
Untitled, monumental contemporary granite sculpture by Khang Pham-New
We first saw his sculptures when they were featured in an outdoor sculpture Biennale in Vancouver with many notable and established sculptors (like Magdalena Abakanowicz, Dennis Oppenheim, Albert Paley, Bill Reid, and Yoko Ono). His work stood out to us and we’ve represented Khang internationally ever since, exhibiting and placing his sculptures in public and private collections for the last 11 years. The response has been amazing. His abstract biomorphic shapes are contemplative and beautiful to view.
My childhood experience in the Vietnam War has, paradoxically, become a driving force in my artistic creations. Escaping from the war-ravaged small village in Vietnam at age twelve, my consequent voyage with other “boat people” started my life journey for love in a more humane world.
I am impassioned with biomorphic abstract forms. As an artist I am aware of and respect the (art) movements of my time, but to create I remove myself from the influences of the time and retreat into a private space where I can experiment and explore possibilities of each phase of my inner life.
I continue to search for an organic fusion between my creative ideas and the abstract form. If such a fusion exists, or a moment of visualizing such fusion is possible, I know it only exists in the long journey ahead.
When sculpting, I employ abstract sculpture language to explore human relationships, which to me, are the origin of life. Lines, especially curved lines, fascinate me; they seem to have the capacity for embracing all other lines; forming various shapes. Curved lines are also metaphors, they represent the feminine power in the universe, the nourishing and generating force of all lives. Joining curved lines with other lines, I have created the sacred bond between Mother and her children, compassionate love among human beings, intensive love between lovers, cyclical movements in nature.
Many of my sculptures express the self-contained cosmos in its cycle of exhaustion and regeneration. In other pieces I have combined forms in a way that is expressive of relationships between living beings. It is not enough for me that a work of art be beautiful or express emotion: I want my pieces to carry each viewer beyond sensation, into realms of contemplation.
- Creator:Khang Pham-New (1969, Canadian)
- Creation Year:2010
- Dimensions:Height: 118 in (299.72 cm)Width: 64 in (162.56 cm)Depth: 56 in (142.24 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Santa Fe, NM
- Reference Number:1stDibs: LU19121534743
Khang Pham-New
The more one knows about granite, the more impossible the sculpture of Khang Pham- New seems. His designs – small, medium and massive – flow, swoop, curve and surrender, plus a host of other verbs that are an unlikely match for a medium so rigid and unforgiving as granite. Yet, there they are, looking fluid, elegant and full of motion.
In choosing granite as his medium, the Canadian-Vietnamese sculptor did not carve out an easy path for himself. Touchy, inflexible and impervious, granite’s interlocking crystalline structure makes it able to stand up to decades – even centuries – of weather. Throughout history, granite has been used as a construction material or for monuments intended to stand the test of time. Unlike marble – its softer, more porous cousin – granite does not easily yield to the stonemason’s mallet or the sculptor’s chisel.
Khang’s expressive abstract works look as though they might have been molded from soft clay. That they were shaped by hand from solid blocks of granite almost defies imagination. Khang’s sculptures are shaped over months, born of imagination, inspired by vision and fueled by arduous labor. What might not be readily apparent in looking at Khang’s work is the fact that the sculptor carefully works out each sculpture’s mathematical proportions so the piece is not only visually appealing, but physically balanced—extremely important.
Born in Vietnam in 1968, the year of the Têt offensive, Khang knew conflict and war from his earliest years. One day, as he sat in his home in a village in south Vietnam, his uncle rushed in, told him to grab what he could carry and to come with him. The uncle had intended to take Khang’s siblings with him, but a shift in the political winds meant that they had to get out in a hurry and join the thousands of other “boat people” who
fled Vietnam in practically any vessel that would float and take them out of the
chaos of Vietnam after the long war. Khang was 11 when he made a journey that many of his fellow countrymen never survived. Khang’s luck turned when an Australian family living in Canada sponsored – and ultimately adopted – the young boy. They were very supportive of me and whatever I was interested in. That, as it turned out, was art – specifically sculpture.
All those curves and arches take significant work – over many months – to produce. Khang sometimes goes through 20 angle grinders and thousands of circular diamond blades to complete a piece. To create the depth of polish he achieves, he begins with 50 grit paper, then goes up to 300, then 1,000 and so on until he reaches 3,500 or so and begins to buff the surface. “When you do that many steps,” he says, “that’s how it gets that ultimate surface.” He is currently experimenting with various textures and says future works will feature contrasts with smooth and rough surfaces.
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