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The Niche

Chiappa hand-carved the pine console table and painted it with white-pigmented shellac. He also did all the wall moldings and the two-toned paint-and-plaster job. The hanging chain sculpture framing the table is by Sarah E. Wood, and the teapot is an heirloom from Werble’s grandmother.

Photo: Jessica Antola

The Living Room

Chiappa’s designs—including four resin-and-Styrofoam stools, a Mondrian-referencing bookshelf, and a painted wood sculpture of a chef’s knife—are joined by those of Marcel Wanders (the knotted chair) and Maarten Baas (the white clay coffee table). The wire hanging sculpture over the sofa is by Beth Campbell.

Photo: Jessica Antola

Facing the Bed

The armchair, still upholstered with its original pink-fringed fabric, is from Kate’s grandmother. It sits beneath a wall sculpture by Nathan Carter. The mirrored side table is by Chiappa, and the Ivory Snow art box is by Jason Rhoades.

Photo: Jessica Antola

The Dining Nook

The otherworldly black hole above the dining-room table is actually an air vent, which Chiappa molded with Styrofoam and plaster. It corresponds to the vent in the bedroom (next slide), which is angled inward instead of outward. Chiappa rigged the white clay Maarten Baas chair with tennis-ball feet himself; he also designed the light fixtures here and in the bedroom.

Photo: Jessica Antola

The Bedroom

Chiappa designed the walnut bed and then painted it several dozen times before dipping the feet in black enamel paint. The wood side table to the left of the bed is nineteenth-century Art Nouveau, a gift from Werble’s parents. The matching one on the other side was carved out of pine by Chiappa in five hours one Sunday afternoon. The mask above is by Brock Enright.

Photo: Jessica Antola

The Closet

The black-enamel-painted walnut closets were designed by Chiappa to hold Werble’s clothes. “It’s her J.Lo moment,” he says. He made all the solid-brass handles himself.

Photo: Jessica Antola

The Plastered Column

Originally, this side of the bedroom was dominated by a walk-in closet that concealed a skinny column. Chiappa demolished the closet, then began plastering the column dozens of times over a five-month period until it took on a fattened, organic-looking shape that pleased him. The stool against the wall is an old library stepladder.

Photo: Jessica Antola

More Places to Sit

The black folding Kasese chair is by Hella Jongerius, and the chaise is from Werble’s grandmother. Chiappa is responsible for the coffee table with the beer-can feet. The black plant sculpture is by Sarah E. Woods. The orange blob sculpture is by Roxy Paine.

Photo: Jessica Antola

Slide Header

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Jessica Antola

Slide Header

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Jessica Antola

Slide Header

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Jessica Antola

Slide Header

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Jessica Antola

Slide Header

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Jessica Antola

Slide Header

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Jessica Antola

Slide Header

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Jessica Antola

Slide Header

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Jessica Antola

Slide Header

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Jessica Antola

Slide Header

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Jessica Antola

Slide Header

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Jessica Antola

Slide Header

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Jessica Antola
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