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).