In The Sun Shines on Everyone (2022), James Rielly captures a strikingly minimalist composition that invites reflection on visibility, presence, and perception. The watercolor on paper, measuring 29 7/8 x 22 7/8 inches (76 x 58 cm), presents a bright yellow background with two disembodied blue eyes that emerge from the vibrant field of color. The simplicity of the composition belies its depth, as the work elicits questions about identity and the relationship between the viewer and the viewed.

The bold use of yellow—traditionally associated with sunlight, warmth, and optimism—sets a stark contrast to the almost eerie blue eyes that stare out at the observer. The title, The Sun Shines on Everyone, suggests a universality of experience, perhaps referencing the equalizing force of nature. Yet the disembodied eyes create a feeling of detachment, as if the gaze is not reciprocal but passive, merely observing. This tension between the warmth of the sun and the disquieting nature of the isolated gaze is typical of Rielly’s ability to blend the familiar with the uncanny.

Art historically, the reduction of forms to their most essential elements recalls the abstract tendencies of Yves Klein, especially in his use of color as an emotional force. However, Rielly’s work also brings to mind Surrealist artists like Salvador Dalí, who used disembodied body parts—such as eyes and lips—to evoke unsettling psychological responses. Here, the simplicity of the work speaks to the complexity of emotion, as Rielly manipulates color and form to explore themes of universality and isolation.

Ultimately, The Sun Shines on Everyone continues Rielly’s exploration of ambiguous emotional states, merging optimism with a sense of detachment. The piece invites viewers to confront their own relationship with visibility, presence, and the ways in which they are observed by others.