A rebellious teen remembers her stress-fueled businessman father, panicked by lack of fulfillment, as he spanks his baby daughter while memories of war experience loom in his mind.

A frazzled woman’s world breaks apart as her dog is the only one to feel the wrath of her rampage.

A bed is ablaze as a woman ponders more than just celibacy.

These are the curious stories that the paintings of Peggy Reavey tell.

Panic, Pulp and Propriety, an exhibit of the surrealist visions of Peggy Reavey, is on display through Sunday, December 19th, at Highways Gallery, 1651 18th St., Santa Monica. Admission is free.

At Pennsylvania Academy of Fine Arts, Reavey fell in love with soon-to-be-surrealist-filmmaker-extraordinaire David Lynch (Mulholland Drive, Lost Highway, Twin Peaks).

On the third floor of her house, she worked on the first three of Lynch’s experimental films. Reavey can be observed vomiting blood in the Lynch short film, “The Alphabet.”

The two were married and had a child. After their divorce, Reavey took to writing novels.

Soon, she felt she was writing about her life rather than living it, so she rechanneled her creative energy into making surrealist paintings instead.

Highways Gallery describes Reavey’s paintings as a marriage of Ann Landers and William Blake.

Her work tells stories. The topics generally fall into three categories: personal and disturbing, gossipy and sexy, or the thin line between life and death. Sometimes, her paintings show all three concepts at once. People are shown doing things like eating, falling down, watching TV, sleeping, singing, getting beat up, stabbing, crying or going to heaven.

Patterns play a role in her works as bright colored shapes are sometimes shouldered onto the canvas and repeated.

She exaggerates depth and forces perspective. To Reavey, illusion is not tricky or suspect, but seductive and revelatory.

She has been doing solo and group art shows since the late 1990s, mostly in San Pedro galleries.

Information, (310) 453-1755.

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