LOS ANGELES, CA, In a world awash with unsettling headlines, digital noise, and emotional fatigue, The InnerDelight offers a vibrant pause, a chance to reconnect with the simple, life-affirming beauty all around us. Opening at Mash Gallery on October 11, 7-10 pm, the exhibition gathers paintings, sculptures, and mixed media works that honor the fleeting, sacred moments of everyday joy.

“There’s a world of delight available to us in everyday life,” says Mashian. “When we remember to look for it—really look—it opens the door to something divine. I selected these works because each one moved me. They reminded me that joy, wonder, and play are still very much alive.”

The Delight Within brings together an extraordinary roster of contemporary artists—Justin Price, Marcello Petisci, Will Binder, Elizabeth Older, Tim Fowler, Philip Letsu, Maico Camilo and Haleh Mashian-in a vibrant exploration of joy, identity, history, and the human impulse to find beauty amid complexity.

At its heart, the exhibition asks: What does delight look like when filtered through different lenses of culture, memory, and imagination? The answer unfolds across a dynamic collection of paintings that span from mythology to modern fashion, from classical antiquity to pop culture, from botanical surrealism to everyday domesticity.

Multiplicity of Perspectives

Justin Price’s canvases radiate energy and playful complexity, blending geometric abstraction, fashion, and figuration. His works, whether layering a Rick Owens–clad figure into a whirlwind of color or patchworking faces and forms into fields of texture, balance chaos and control. They remind us that delight often arises from tension—from the push and pull of melancholy and joy, spontaneity and structure.

Marcello’s bold automotive-inspired paintings inject whimsy and nostalgia into icons of luxury and speed. Ferraris, Aston Martins, and vintage Porsches are reimagined through candy-colored stripes, coastal dreamscapes, and pop-art overlays. By translating power and precision into playful palettes, Marcello reveals delight in reinterpreting symbols of status as symbols of creativity.

Will Binder turns toward antiquity and intimacy, seamlessly blending the realism of Greek marble and bronze statues with contemporary imagination. Works like Aphrodite, Kore, and Theseus revive mythological figures with lifelike precision, while Washing the Dishes grounds his practice in the intimate heroism of everyday life. In pieces like Sleeping Eros and East Meets West, Binder meditates on love, transformation, and the meeting of cultures—finding delight in both timeless mythology and the fleeting tenderness of family moments.

Elizabeth Older’s dreamlike abstractions open the field of interpretation, where blooms might also be coral reefs, and gardens might also be seascapes. Her compositions invite viewers to project their own experiences, finding delight in discovery and shifting perception.

Tim Fowler’s electrified botanicals (Green Tea, Prince’s Pine) collapse the boundaries between science, nature, and urban surrealism. His neon-saturated flora pulse with energy, suggesting a world where organic life is heightened, exaggerated, and alive with possibility. Delight here is futuristic, psychedelic, and brimming with reimagined vitality.

Philip Letsu and Haleh Mashian expand the dialogue further, each offering four works that root the exhibition in deeply personal and imaginative expression. Letsu’s pieces bring yet another dimension of perspective and narrative.

Haleh Mashian with her layered and whimsical tree series, celebrate nature, texture, and exuberance with sculptural depth and color.

Across these diverse practices, The Delight Within embraces abundance: of color, of texture, of meaning. The works oscillate between order and disorder, realism and abstraction, history and modernity. Yet together they share a common thread—the recognition that delight is not superficial but layered, complex, and resilient.

Mash Gallery presents The Delight Within as both an aesthetic celebration and a philosophical question: where, amid impermanence and complexity, do we find our delight?