The centerpiece of “More Chairs” is a gesamtkunstwerk hobbyhorse that is only superficially a chair. Upon close inspection, its frame reveals countless vignettes—domestic scenes, conveyances, chance encounters on porches, landing pads, stanchions, utility poles, laundry lines, poured concrete and floating staircases. A masterwork of marquetry, metalwork, ceramic, and glass, its surfaces are enameled, varnished, flocked, shingled, painted, patinated and braised. It presents such a clamor of activity and conflicting modalities that the effect is simultaneously absurd and profoundly moving. On its central welded column, creatures carry out their activities in utopian terraced harmony, ala James Wines’ famous “Highrise of Homes” drawings. Among them are a spiral-staircase-highway, “two-boot” creatures whose bodies consist of a single connective leg, a Joe Btfsplk dog, a crouching cloud phantasm, and an even smaller tenament-in-a-tenament.
Librizzi is fluent in multiple design languages, and while echoes of builders like Andrea Branzi, Nicola L, Nathalie Du Pasquier, and Massimo Scoliari can be found, his project is a lot closer to the work of H. C. Westermann or his lesser-known contemporary, Jeremy Anderson, in its articulation of a quintessentially American paradigm. A native of New Jersey, Librizzi currently works in Ridgewood, Brooklyn, his own studio nestled among a hodgepodge of bawdy laminate surfaces, decorative glass, and high-decibel architectural follies. Discovering him there is not unlike disappearing down the trap door rabbit hole he so frequently employs, into a world of unbridled wonder.