The double-height informal dining area, which Sonnier also uses as a workspace, is big enough to hold a banana plant and an Australian tree fern. His Ballroom Chandelier is mounted above cabinets that display pottery and African masks. The table is maple and the rug is Moroccan.
In his new Bridgehampton studio, Keith Sonnier stands next to his Expanded Willow Blatt, a neon sculpture from 2000.
A mammoth tulip tree towers above Sonnier’s home, which comprises a late-19th-century Victorian farmhouse and a modern addition completed earlier this year.
The entry features an African stool and a rug based on a Sonnier design.
The artist’s Bodo Junction Series I is illuminated on the dining room wall.
Sonnier made the mask above the mantel from plastic detergent dispensers.
His Enzo II hangs in a guest bedroom.
The living room, located in the older part of Sonnier’s home, is furnished with Le Corbusier seating and a wooden African bed that functions as a coffee table.
In Sonnier’s bedroom, situated in the new addition, a brightly colored canvas by Harriet Korman adds sharp contrast to a humble cotton quilt woven by his grandmother.
An abstract patchwork rug, based on one of Sonnier’s drawings, anchors the library/office, where a John Torreano sculpture is affixed to the wall.
Sonnier’s new studio, located at the back of his property, features 25-foot ceilings and a garage door large enough to accommodate overscale artwork.
The artist’s 1978 Fa-Sel.
The artist’s 2015 Ebo River II.
