For Peeples-Bright, the animal world is exuberant, playful, and in full technicolor. Walking into Parker Gallery’s solo exhibition of Maija Peeples-Bright is like jumping into the fantastical world of the artist’s own creation - one in which Lady Godiva is adorned with prancing geese, and alligators, pandas, and giraffes mingle with millipede-corgis. Image courtesy of the artist and Parker Gallery, Los Angeles. Maija Peeples-Bright, “Goose Lady Godiva,” 1969. Together, these works seem to depict a personage without a realistic representation, much like Fallah’s examination into how influences and cultural references might inform a person’s psyche.īoth shows on view: September 12 – October 31 Amanda Ross-Ho’s “Untitled Smock (Accident)” is an oversized replica of her own painting smock that she accidentally spilled red paint onto (each red stain has been faithfully recreated). Francis Upritchard’s uncanny figures have a strange scale, somewhere between doll and child. Daniel Gibson’s thick oil painting depicts fantastical florals enveloping a figure’s striped legs. Todd Gray’s stacked photographs juxtapose African landscapes with tamed European gardens. Titled “I am not this hair, I am not this skin, I am the soul that lives within,” the show includes work by four artists who (similarly to Fallah) deal with portraiture in unconventional ways. In a project space at the gallery, Fallah has curated a group exhibition that is on view alongside his solo show. Image courtesy of the artist and Shulamit Nazarian, Los Angeles “I am not this hair, I am not this skin, I am the soul that lives within,” at Shulamit Nazarian (installation view). The gallery writes, “Each painting serves as a diary of lessons, warnings, and ideals that the artist wants to pass on to his son and together become a site map, providing coded insight into the formation of an identity while investigating the cultural values passed between generations.” skater culture, to American histories that here read like propaganda. Here, Fallah has removed the central figure and instead created a map of his own cultural influences from his childhood in Iran, to his involvement in U.S.
Previous work of Fallah’s has often delved into portraiture, painting a subject shrouded and surrounded by their belongings. Fallah commandeers the style of each reference he renders - some images are painted in flat graphic shapes, while others appear hyperrealistic. Beautifully rendered patterns and florals are punctuated by cartoony woodland creatures that the artist appropriates from his son’s children’s books. Out-of-date maps detail geographies that have long been debunked. Figures pulled from Iranian culture (where the artist was born) sit alongside Greek architecture or scenes of Americana.
Fallah’s new paintings cull references from various histories and cultures to create compositions that read like narrative tapestries.
Image courtesy of the artist and Shulamit Nazarian, Los AngelesĪt Shulamit Nazarian in Hollywood, Amir H. Fallah, “The Animals Of The World Exist For Their Own Reasons,” 2019.
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