“Exploring Unconventional Twists in Mid-Century Modernism in ‘Chair-ish'”
**The Heresy of Legacy and Chair-ish: Revolutionary Takes on Design Classics**
In a daring exploration of design and sculpture, the artists Alex Chitty and Norman Teague invite viewers to reconsider the boundaries of furniture and art through their innovative exhibition, “The Heresy of Legacy” and its counterpart, “Chair-ish.” Both shows present a playful yet profound dismantling of design icons, challenging perceptions of heritage, ownership, and creativity.
*The Heresy of Legacy* at Chicago’s Volume Gallery showcases an eclectic assembly of experimental chairs and hybrids that challenge traditional design philosophies. The exhibition’s provocative title reflects its mission to question and reinterpret the sanctity of iconic design objects. Featured works include a masterful fusion by the late Garry Knox Bennett, who humorously combines Gerrit Rietveld’s “Zig Zag” chair with a ladder-back chair, and a whimsical reinterpretation of Marcel Breuer’s “Cesca” chair by Matt Olson/OOIEE, assembled in a reverse orientation that defies function yet remains oddly feasible.
Simultaneously, at the Cleve Carney Museum of Art in Glen Ellyn, the exhibition *Chair-ish* continues this playful inquiry. Although initially intended as a collaborative endeavor, Alex Chitty and Norman Teague present parallel works that resonate in their mutual irreverence toward high design. Chitty, known for her sculptural work with high-design objects, crafts pieces from the remains of iconic furniture, interweaving elements from designers like Jens Risom and USM Haller. Her floor sculptures and wall installations draw attention to the artistic potential of design components, unveiling underlying abstract forms.
Norman Teague’s contributions similarly embody anthropomorphic qualities, transforming ordinary chair parts into totemic figures that reflect both his background in artful furniture design and a dynamic reimagining of utility. Teague embraces the liberation from functional constraints to concoct pieces like “Pollinia,” which integrates elements from car parts and Eames’s plywood leg splint—a nod to wartime innovation and design evolution.
A stand-out collaboration within *Chair-ish* is the “Eames/Judd/Shapiro/Teague/Chitty Bench.” This multifaceted bench pays homage to a lineage of design ingenuity by incorporating collective efforts from past and present creators, resulting in a resting spot that is as much a testament to collaborative creativity as it is functional art.
Both exhibitions defy expectations, suggesting that sometimes the most profound respect for design heritage involves a bit of irreverence and a willingness to dismantle established icons. As Chitty and Teague’s works attest, engaging with legacy is about more than preservation—it’s about transformation and the continuous dialogue between the past and present.
*The Heresy of Legacy* remains open at Volume Gallery until March 28, while *Chair-ish* can be viewed at the Cleve Carney Museum of Art until April 11. These exhibitions represent a unique opportunity to engage with art and design in conversation and contradiction, offering a seat in the ongoing narrative of creativity and change.