Leyla Faye uses painting as a reflective tool to explore the nuanced intricacies of the multifaceted nature of identity. Central to her practice is the notion of metamorphosis, as she elevates the ordinary into realms of psychological depth by seamlessly blending layers of paint with found materials in elaborate, tactile compositions.

Drawing from the concept of the uncanny and a clever twist on the English translation of "unhomely," Faye's solo presentation at Frieze New York mirrors the structure of a traditional dollhouse. Each painting forms a distinct room, contributing to an immersive installation complete with molding and wood-paneled flooring. Within this confined yet evocative space, oversized automaton-like depictions of the artist engage in a series of acrobatic rituals, using everyday household objects as props and apparatus.

Rather than merely portraying self-representations, Faye imbues each subject with individuality, presenting them as distinct doppelgängers with their own personas that traverse different worlds. These figures inhabit a realm where they blur the line between dolls and puppets. Faye's reference to puppet theater traces the evolution of simulacra, where puppets transcend their scripted roles to become autonomous beings. In a manner reminiscent of Pinocchio's transformative development between the human and the artificial, they undergo their own evolution into fully embodied characters, pulling their own strings.

In several works, Faye alludes to the Topsy-Turvy doll, a double-ended American folk doll which fuses a black and a white figure. These characters navigate a delicate equilibrium between performance and belonging, seeking to dissolve the boundaries of their fractured realities and symbolically addressing the collision of racial identities, both internal and external. Other figures evoke the whimsy of the carnival and circus, featuring jester-like movements and symbolism—a motif recurrent in the artist's paintings. Here, Faye portrays playful tricksters, often engaging in surreal acts like self-detachment or intricate contortions, weaving a narrative of high-stakes comedy and intrigue.

Faye perceives the self-portrait as a tool for defamiliarization, wherein the recurrence of her own image transforms it into something fresh and distinct, constituting its own medium. There's a liberating essence within this excessively repetitive ritual which allows the work to delve into the broader complexities of identity, exploring its boundaries, the notion of imagined stability, and its inherent limitations. Rather than rejecting it, Faye’s compositions celebrate the fragmented essence of the self.

Leyla Faye received her BFA in Painting from the Rhode Island School of Design and her MFA in Painting and Printmaking at the Yale University of Art in New Haven. Recent solo and two person exhibitions include A Requiem for Benevolent Beasts, Lindon & Co., London, United Kingdom (2023); Trust Fall, Company Gallery, New York (2023) and group exhibitions at Adler Beatty, New York; Karma International, Zürich and Almine Rech Gallery, Brussels. She was born in Minneapolis, Minnesota, and currently lives and works in Brooklyn, New York.