John Chamberlain's foam works, created primarily between 1966 and 1970, mark a significant departure from his well-known metal sculptures made from crushed automobile parts. These foam pieces represent an exploration of new materials and techniques, demonstrating Chamberlain's innovative approach to sculpture.

In the mid-1960s, Chamberlain began experimenting with urethane foam, a material that allowed for greater spontaneity and immediacy in his sculptural process. He used commercially available polyurethane foam, which he cut, folded, and tied with cord to create dynamic forms. The foam sculptures were often described as playful and anthropomorphic, imbued with a sense of movement and flexibility that contrasted sharply with the rigidity of his metal works (The Art Story) (Aspen Art Museum).

The creation process of these foam works was remarkably physical and direct. Chamberlain would carve the foam with a knife and manipulate it into various shapes by folding and tying it. This method allowed for a rapid and intuitive approach to sculpture, often resulting in forms that appeared both organic and abstract. The foam's inherent properties—its lightness and pliability—enabled Chamberlain to explore new dimensions of form and space (Aspen Art Museum) (Hauser & Wirth)

Despite their innovative nature, Chamberlain's foam works were initially met with skepticism from both collectors and museums. The perceived impermanence of urethane foam, which discolors and degrades over time, contributed to their limited early reception. However, Chamberlain himself was less concerned with the material's longevity, humorously noting that the sculptures would likely outlast the critics who doubted them (Nasher Sculpture Center).

The foam sculptures gained renewed attention in the early 2000s, particularly with the 2005 exhibition at the Chinati Foundation in Marfa, Texas. This exhibition, curated by Marianne Stockebrand, featured a comprehensive survey of Chamberlain's foam works, highlighting their significance within his broader oeuvre. The exhibition helped reintroduce these sculptures to a new generation of art enthusiasts and established their place alongside his more famous metal works (Chinati Foundation).

John Chamberlain's foam works represent a crucial chapter in his artistic journey, showcasing his relentless pursuit of new materials and methods. These sculptures not only expanded the boundaries of his practice but also contributed to the broader discourse on the possibilities of modern sculpture (The Art Story) (Aspen Art Museum) (Nasher Sculpture Center) (Hauser & Wirth).