“Upstream was made at a transitional time when I was without a proper studio space and was working on my balcony. This piece has obvious reference to fish traps. As a little boy during the Khmer Rouge [era, 1970–75], I used to watch and help my father build fish traps. We used to catch frogs with them. This cone shape symbolized for me a home or a shelter of sorts. I also kept thinking about border crossings. Like fish that travel upstream through barriers only to come up against another border. I wanted to see what would happen if I make this simple form; would it be an interesting sculpture.” —Sopheap Pich
New York. The Metropolitan Museum of Art. "Cambodian Rattan: The Sculptures of Sopheap Pich," February 23, 2013–July 7, 2013.