Tyler Shields has never been interested in reality. His world is one of extremes, of glamour under pressure, of beauty behaving badly. In his latest series, Shields transforms a humble American diner into a fever dream, where femininity is fierce, rules are suspended, and everything, from the counter to the car hood, is a stage.

The photographs are arresting, playful, and unmistakably Shields. In one image, a pair of long legs in sheer black tights and Louboutins emerge from beneath a bubblegum-pink 1963 Cadillac, a surreal twist on the classic mechanic trope. It’s bold, cinematic, and a little absurd, in the best way. The hot pink and chrome, the red soles against asphalt—every detail is choreographed for impact.

Inside the diner, the surreal continues. A group of ballerinas—poised, powerful, and unbothered—take over the booths and stools, their presence turning the greasy spoon into a rehearsal hall. The image is in black and white, but it pulses with energy. They drink coffee, stretch their legs, and rest their chins in their palms like they own the place. Shields captures them not as fragile dancers, but as icons in repose.

In another shot, a model struts across the diner countertop, legs commanding the frame, high heels slicing through the neon glow. Behind her, signs shout “SHAKES” and “COFFEE,” but all eyes are on the unapologetic power of her stance. It’s retro Americana reimagined through a lens of dominance and control.

Together, the images form a seductive contradiction: vintage but modern, playful but pointed, staged yet full of life. Shields leans into clichés—dancers, diners, cars, lipstick—and reclaims them with edge.

At 1905 Contemporary, we see this series as a declaration: the diner isn’t just a place to eat. It’s where characters are born, where fantasies are framed, and where Shields once again proves he’s not documenting reality—he’s inventing his own.

Get in touch today to learn more about this series.