Jessica Taylor Bellamy and Suzanne Lacy Channel the Topography of Los Angeles

Photography by Daniel Sahlberg. Image courtesy of the artist.

With the opening of Jessica Taylor Bellamy’s exhibition “Endnotes for Sunshine” fast approaching, the rising painter and multidisciplinary artist has been fighting the urge to cram everything she’s ever made into the sun-filled space at Anat Ebgi in Los Angeles. Ultimately she has resisted, opting to present a meticulous selection of her signature works—quintessential California landscapes overlaid with looming harbingers of climate change—instead. “There's so much I want to fit in,” she says, “but I know the results will be better if I listen to the guiding voices in the gallery.” "Endnotes for Sunshine,” Bellamy’s first solo exhibition with the gallery which opens Jan. 21st, articulates the artist’s relationship to her native city, spotlighting the structures of privilege, oppression, and environmental devastation embedded in its topography. In 2020, while a student at USC, Bellamy met Suzanne Lacy, a performance and visual artist and her fellow Californian, who likewise takes the her expansive home state’s heavy symbolism as source material. The pair first connected over their investment in the politics and practice of socially-engaged artmaking—and many zines, studio visits, and strolls down the beach later, expanded their relationship into a creative communion. Here, on the occasion of Bellamy's upcoming exhibition, the artist and her mentor discusss the shared influences—namely the urban and rural subcultures of California—that fuel their ever-evolving practices.

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