Dining Chairs consists of twelve acrylic chairs—replicas of Philippe Starck’s “Ghost Chair,” itself a postmodern reinterpretation of the Louis XVI chair—placed shoulder to shoulder in a 22-foot line, alternating directions. The genealogy of the design is already layered: an 18th-century form reframed in the late 20th century, now further distanced through reproduction. By the time it arrives here, the chair is three times removed from its source—an echo of an echo.

The installation recasts a familiar domestic arrangement in ceremonial terms. Chairs that would ordinarily circle a table are instead positioned in a processional line, their function shifting from intimacy to order, rhythm, and repetition. This reconfiguration formalizes the everyday act of dining, transforming routine into the structure of ritual.

The choice of twelve chairs underscores this shift. Long associated with cycles and completeness, the number aligns the work with broader symbolic systems that exceed the domestic sphere. The material heightens this transformation: transparent yet solid, the acrylic conveys presence and absence at once, its surfaces inscribed with scratches and cracks that register as traces of use. Stripped of their everyday function, the chairs show how a humble object, once displaced and reframed, can become a marker of inheritance.