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America Age > Blog > Art & Books > Paradise and Precarity Merge in Jessica Bellamy’s Work of Los Angeles Life
Art & Books

Paradise and Precarity Merge in Jessica Bellamy’s Work of Los Angeles Life

Enspirers | Editorial Board
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Paradise and Precarity Merge in Jessica Bellamy’s Work of Los Angeles Life
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For Jessica Taylor Bellamy, juxtapositions, transparency, and layers form a means of working that evokes her household historical past and notions of residence and panorama. Born to an Ashkenazi Jewish mom and an Afro-Cuban Jamaican father, Bellamy was raised in Whittier, simply southeast of Los Angeles.

In glowing oil work, she attracts from private mementos like images, gross sales receipts, and newspaper clippings to discover the relationships between utopia and dystopia, people and nature, picture and textual content, and fantasy and actuality.

“Did She Nail It?” (2025), oil on canvas, 26 x 20 inches

Bellamy portrays sunsets, landscapes, bushes, city streets, flora, animals, and cloud formations in a form of dreamy washiness, including patterns like chainlink fences, gates, and lace curtains suggestive of boundaries. Horizontal landscapes overlaid with American Airways tickets echo Andy Warhol’s Sixties silkscreen prints of SAS airline tickets merged with floral motifs.

“Bellamy’s observations are rooted in her experiences of the sprawling urban landscape of Los Angeles—a meeting of nature and civilization at the edge of a precarious paradise, formed by fire, drought, flood, and wind,” says an announcement from Anat Ebgi, which represents the artist and opens her new solo exhibition, Temperature Verify.

A couple of works proven right here, like “Did She Nail It?,” seem within the present, which merges landscapes and atmospheric lighting results with references to DIY tradition, what’s gendered as “men’s work,” and automotive and motorbike tradition. The Dwelling Depot receipt, which generally makes use of the slogan “Did we nail it?,” is mixed with a picture of a rear-view mirror depicted so shut that it initially seems summary.

Bellamy examines the dualities and precarity of life in Southern California—a seeming paradise we’ve witnessed will be swiftly devastated by fireplace and drought. The title Temperature Change can also be a double entendre, suggesting meteorological readings and a figurative expression used when measuring a gaggle temper or opinion. By surreal imagery and echoes of mass manufacturing and consumerism, the artist invokes a noir reverie.

Temperature Verify runs from February 8 to March 22 in Los Angeles. Discover extra on the artist’s web site and Instagram.

a vertical abstract painting with details of light like a sunrise with an overlaid pattern of a lace curtain and a box fan
“Box Fan (AM)” (2025), oil on canvas, 57 1/2 x 32 inches
a horizontal abstract painting of a landscape at sunset overlaid with an American Airlines passenger ticket
“American Airlines Passenger Ticket 2 (after Warhol)” (2023), oil on canvas, 32 x 60 inches
a horizontal abstract painting of water reflecting light overlaid with a series of shells organized in a grid
“Playa Larga (Coquina Combination Pill Pack)” (2023), oil on canvas, 23 3/4 x 42 1/2 inches
a horizontal abstract painting of a motorcycle overlaid with newspaper clippings
“A Subspecies of Journalism” (2023), oil on canvas, 59 x 43 1/2 inches
a vertical abstract painting of a landscape at sunset overlaid with imagery of a black bird of prey and a series of white doves
“A Splendid Paradox” (2022), oil on canvas, 70 x 52 inches
an abstract painting of a prismatic landscape with glaring light behind the motif of an ornamental wrought iron fence
“Curtain of Sky” (2024), oil on canvas, 57 1/2 x 48 inches
a wide horizontal abstract painting of a landscape overlaid with lace patterns
“Horizontal Thrust I (Blue graffiti highway)” (2025), oil on canvas, 26 x 70 inches
a vertical abstracted painting of an urban landscape with palm trees overlaid with a chainlink fence pattern
“Driveway Moment” (2025), oil on canvas, 57 1/2 x 47 inches

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