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Art and nothing but art, we have art lest we
perish of the truth.
The project envisions the chalet as a private gallery, a space designed to host, present, and elevate contemporary works of art. Paintings and sculptures structure the interiors like a sequence of open stages. They orchestrate the rhythm of the spaces and establish the visual tempo, while the architecture and furnishings deliberately maintain a subtle sense of neutrality.
The selection of materials follows a deliberately restrained palette. Soft white shearling envelops armchairs with refined, minimalist lines. The transparency of glass introduces a fluid circulation, free from visual boundaries. Charred wood enters into dialogue with raw birch trunks, creating a tension between crafted material and natural origin. Rare lacquered woods, with their delicate reflections, bring a discreet depth and sophistication. In nearly every room of the chalet, artworks—paintings and sculptures—are present. They serve as the conceptual starting point of the moodboard, from which the spatial layout and decorative language of the interior naturally unfold. The chromatic palette moves between deep red and navy blue, tones carefully chosen to resonate with and echo the artworks themselves.
The curatorial approach deliberately distances itself from the strict codes of the white cube, the neutral exhibition model that defines most galleries and museums.
Instead, the intention is to preserve the spirit of a domestic environment—warm, intimate, and welcoming—where art is not merely on display but is fully integrated into the experience of everyday life.
Textiles appear sparingly and with intention. Carefully selected, they combine materials such as fiberglass and leather, unfolding in subtle palettes of vegetal tones.
