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Khang Pham-New
Infinity, polished red granite sculpture, monumental

Name: Infinity, polished red granite sculpture, monumental
Brand: Khang Pham-New
Rating: 4.9 (9 reviews)

Price Upon Request

About the Item

Contact the gallery for information about commissions to enlarge or to order another color in granite This is a unique sculpture done in a limited series of sizes and varying types of granite Shipping to be coordinated with 1st Dibs and gallery. Contact us for lead times for shipping. 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. Khang says: “It is my passion to create monumental sculpture. I invite the viewer to touch and interact with the work. It is especially nice to see small children in and around the large pieces.” Pham-New is interested in the art and form of sculpture as a basis for contemplation and meditation. Khang Pham was born in war-torn South Vietnam in 1968, the year of the Têt offensive. At the age of 12, together with two of his uncles, he joined the exodus of “boat people” in search of a new life. Arriving in a refugee camp in Malaysia, he was separated from his uncles, ultimately to be adopted by an Australian family living in Canada. John New, a professor of European history, his wife Debbie, and their family of eight children (including Khang) were strongly supportive of Khang’s love of art. As early as high school, Khang’s artistic talents started to flourish. With the support of Barry McCarthy, his high school art teacher, (now an acclaimed Canadian painter), an art project revealed to Khang that the medium of sculpture could help him express himself both emotionally and artistically. Khang Pham-New studied at the Ontario College of Art where he majored in sculpture installation. Amongst other venues, Khang has exhibited throughout Toronto at the John B. Aird Gallery, the Queens Quay II Gallery, The Sculptor’s Society of Canada, and at the Pinedale Estates, a private sculpture garden north of Toronto. In 2005, three of Khang’s works were selected to exhibit in the prestigious Vancouver Sculpture Biennale. After almost 20 years, in October 1999, Khang traveled back to Vietnam to be reunited with his birth parents. In his continuing voyage of self-discovery, he began a process of reconnecting with his birth country and culture.

Creator:
Khang Pham-New (1969, Canadian)
Dimensions:
Height: 110.63 in (281 cm)Width: 74.41 in (189 cm)Depth: 51.97 in (132 cm)
Medium:
Granite
Movement & Style:
Contemporary
Period:
2010-
Condition:
Gallery Location:
Santa Fe, NM
Reference Number:
1stDibs: LU19122507833

Shop All Khang Pham-New

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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