Carlye Packer (Cabana 103) is pleased to present Hollywood Noir for the 8th edition of Felix Art Fair, a special presentation curated with Amélie Alexandre of Collecta Art Advisory. Felix Art Fair 2026 opens February 25th and is open through March 1st at the Roosevelt Hotel in Hollywood, CA.

In Hollywood Noir, the Hollywood Roosevelt's storied room becomes a stage for suspended reality, where the self can undress and unravel, performing the twin roles of witness and accomplice. With an eye toward Los Angeles's founding mythology, the select group of fifteen artists transform the psychology of a hotel room into a collision of the cinematic, the performative, and the uncanny—anchored by Sturtevant’s Warhol Gold Marilyn, an explicit wink to the Hollywood Roosevelt's most iconic resident.

Warhol Gold Marilyn addresses the fantasy and wicked allure of images in art, of the self and celebrity, and their illusion of proximity. This slippage of the real through retransmission is heightened by Glenn Ligon, quoting Richard Pryor in gold and confronting the inherent tension of entertainment. Jean-Pierre Villafañe explores the loud dance of the social ego against Faith Hughes' scenes of tension and tenderness on ceramic tile. The femme fatale silhouettes of Larysa Myers and Sissi Farassat bleed into questions of performance and privacy through the female gaze. Chet Taylor's hand-worked California live oak chair balances and complicates Richard Prince’s cowboy portraits, edging the spectrum from raw to refined.

Storytelling dissolves the difference between real and retouched—whether by Elizabeth Colomba, redressing history for the page, Ōmbia Studio’s pre-Colombian symbolism worked into furniture, or Emily Ferguson, whose intimate diptych finds inspiration in the magazine form.

The dual notes of exterior and interior, of costume and organic self, find echo in the works’ material range: through painting, photograph, silver, and design, and the collapsing borders of each. Simone Leigh's enlarged ceramic cowrie turns cultural symbol into centerpiece while Leo Costelloe's seemingly quotidian silver sculptures add a coy and ornate twist on the everyday object. Through a spiritual lens, Jovana Millay operates between art forms with quiet subversion, while Adam Stamp exposes the deafening palimpsest of merchandise, working directly on the face of a branded hotel bag.

A hotel room is never innocent. Intensely public by nature, it offers itself as temporary sanctuary and host of secrecy for each private occupant. This presentation invokes the shadow-logic of Hollywood Noir—chiaroscuro morality, fractured chronology, and the fatal magnetism of surfaces that promise and betray at the site of the Roosevelt Hotel, a building steeped in Hollywood’s own mythology—where first Academy Awards were handed out, starlets were “discovered” in the lobby, and the line between performance and private life has always been dangerously, deliciously thin.