Yaya began her love for art before preschool age. Formal art training was out of reach during her formative years. But as a child of the 50’s and 60’s doors opened to her that she considers the finest possible art education. Before the age of fully 16, she spent many hours at the Bolton Landing farm of her art idol; sculptor David Smith, a recipient of the prestigious “Guggenheim Fellowship for Creative Arts”. Although Smith died in 1965, Yaya maintains friendships with contemporaries Smith mentored. Yaya was accepted at Goddard Experimental Collage in Vermont, also at 16, where she learnt with mature artists in that community. Yaya has participated in classwork at The San Francisco Art Institute, while not old enough to enroll. Her passion is Abstract composition and forms, although she is skilled in portraiture and animal subjects. She has earned awards for her work in juried competition venues throughout the United States.
Yaya approaches painting with an eclectic scope. Her abstract work addresses the balance of dynamisms of life on all of its levels. She deliberately plays with the equipoise and diffusion of space, form, color and composition. Her work is often occupied with creating a glimpse into internal and external components of realty. She is always exploring the enigmatic power within matter and the mind.
Yaya often says: “Although it is fun to appreciate a realistic piece of art, the true “LIFE” of the ART happens in the abstractions, even in the flaws. I like nothing more than to visit a museum where my art heroes are exhibited, and study, up- close, the RAW, imperfect, edges of paint, the bumps, and rough spots, the color peeking out from the underpainting. I love the blank spots on the canvas. And even stray hairs from the brushes, now captive in the paint. To create out of pure energy with no guidelines, “THAT” is not easy! It is easy for someone to look and say: I could have painted that; after they have seen it. But to make it “become” is not easy at all, it requires honesty and self-exposure…It risks criticism.
As an artist, It doesn’t matter if I leave this world with a studio brimming with unsold work, as long as I keep being productive and learning. I have always believed that for every 10 paintings an artist may produce, they might create one that is EXCEPTIONAL. That is my goal to leave a few exceptional pieces in my wake.
Scroll-down to see “The Case for Abstraction”