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

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

For Jessica Taylor Bellamy, juxtapositions, transparency, and layers shape a way of working that evokes her family history and notions of home and landscape. Born to an Ashkenazi Jewish mother and an Afro-Cuban Jamaican father, Bellamy was raised in Whittier, just southeast of Los Angeles.

In glowing oil paintings, she draws from personal mementos like photographs, sales receipts, and newspaper clippings to explore the relationships between utopia and dystopia, humans and nature, image and text, and fantasy and reality.

an abstract with seemingly layered images of a face and palm trees, with a receipt that reads "Did we nail it?"
“Did She Nail It?” (2025), oil on canvas, 26 x 20 inches

Bellamy portrays sunsets, landscapes, trees, urban streets, flora, animals, and cloud formations in a kind of dreamy washiness, adding patterns like chainlink fences, gates, and lace curtains suggestive of boundaries. Horizontal landscapes overlaid with American Airlines tickets echo Andy Warhol’s 1960s 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 a statement from Anat Ebgi, which represents the artist and opens her new solo exhibition, Temperature Check.

A few works shown here, like “Did She Nail It?,” appear in the show, which merges landscapes and atmospheric lighting effects with references to DIY culture, what’s gendered as “men’s work,” and car and motorcycle culture. The Home Depot receipt, which typically uses the slogan “Did we nail it?,” is combined with an image of a rear-view mirror depicted so close that it initially appears abstract.

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

Temperature Check runs from February 8 to March 22 in Los Angeles. Find more on the artist’s website 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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