Christopher Chiappa was born in 1970 in West Chester, PA. We love his contemporary art installation made with eggs.

He went to the Rhode Island school of design before receiving a BA from Middlebury college in 1993, and attended the Skowhegan school of painting and sculpture in 1998. He currently lives and works in long island city, NY.

Chiappa held his debut solo exhibition, titled it feels so good to be a lie, at Jessica Fredericks gallery, new york, NY in 1998. Subsequent solo exhibitions include as funny as brain cancer, Fredericks & Freiser, new york, NY (2000); it’s much worse than you think, Fredericks & Freiser, new york, NY (2002); high fructose corn syrup, kate Werble gallery, new york, nNY(2010); gott ist tot, kate werble gallery, new york, ny (2012); and christopher chiappa: hermit crab, isolation room/gallery kit, st. Louis, mo (2013); stasis horror, mass moca, north adams, ma (2014-2015); and livestrong, kate werble gallery, new york, ny (2015-2016).

His work has been shown at galleries and institutions including the institute of contemporary art, Philadelphia,  Museums of Bat Yam, Western Bridge, Seattle, Andrea Rosen gallery, New York, James Cohan gallery, New York, Modern art, London, modern collections, London, and many others.

Chiappa has received reviews in publications including the new york times, art in america, los angeles times, the new yorker etc..

Chiappa’s egg obsession initially began in his studio with drawings and photographs, eventually materializing into a sculptural series. the forms are made through a carefully calibrated process of casting, pouring, sanding and painting plaster, refined into uncannily hyper-realistic sunny side up sculptures.

The symbolic function of the egg — traditionally embodying themes of perfection, purity and resurrection — is distorted by its fried nature. These droopy, cooked variations convey a more unfavorable position — broken, defunct, dead.‘Chiappa’s fried eggs operate squarely within the uncomfortable intersection of two symbolic legacies, mining the darkly humorous vein where perfection and failure meet,’ kate Werble gallery describes of the exhibition.‘ the title of his show, livestrong, confronts this duality, using a well-known cultural symbol as a metaphor for belief. this is familiar territory for the artist, whose visual lexicon frequently revisits figures from his suburban childhood – such as weber grills, basketballs, and volvos – to plumb the psychological depths of these gestalt images of mundane but wholesome American exceptionalism.’

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