Borrowing from lyrics in Dionne Warwick’s “A House Is Not a Home”, A chair is still a chair takes its cues from the song’s rhapsodic exploration of the body in orientation to domestic objects. “A chair is still a chair / even when there’s no one sitting there” proposes an object-oriented approach to understanding a chair as its own non-anthropomorphic object, in the absence of a body, detaching the chair from notions of utility and furniture. The work expands upon this through an effort to unify the body and the chair, through the following line of inquiry: Can furniture be wearable? What would happen if we wore chairs? Can the body become a chair? Thus the work presents the body and the chair as a uniform object; the body enters an exploration of the possibilities of wearing the chair as a garment, as well as ‘becoming’ a chair. This mode of duality is inspired by the following sentiment in the song: “But a chair is not a house / and a house is not a home / when there’s no one there / to hold you tight”. The question of domesticity as inextricably tied to the body foregrounds the distinction between a ‘house’ as an ineffectual space, and a ‘home’ as spirited with forces of passion; the fluid form between a person and a chair can be seen as a response to such impressions of anxiety and estrangement engendered by the question of one’s belonging - to a house or a home - exploring the feeling of wanting to hide oneself from plain sight (possibly as, for example, a chair).
Farizi explores object-making in his practice through their gestural and uncanny energies. Looking at notions of performance away from the body, he works through dominant narratives to articulate remnants of alternative possibilities. Within relations of history and memory, he explores a dialectic of remembering and forgetting; looking at subverting the negative affects of forgetting, and unpacking notions of remembering - or re-membering - as a reinstating of membership into what was once forgotten. With an interest in the logics of what we keep and what we leave behind, Farizi is interested in modes of unbecoming, with a keen focus on doing things wrongly.