Through her Art, Yaël aspires to create a feminized aesthetic Beauty that could almost be qualified as utopian. She is very often influenced by people she meets or actual events in the world. Through her creations, that are symbols of femininity - rooted iconography of life and continuity, Yaël wishes to counterbalance some of the overly-powering ugliness of her time, and bring forth Beauty as she views it. And contrary to the past, Artists of the twenty-first century are freer than ever before. Thus with this world being a place full of inspiration, diversity and possibility, she refuses to be restricted and lets herself be guided by the many arteries, art-lines and lines of flight this World has to offer.
Always having been fascinated by Art History, it has had a tremendous impact on Yaël's ways of creating. For instance, the new realism of the Impressionists or the need to shake up the Art world's rigidity of the Dadaists have influenced her vision. While the derived artistic use of design by the Modernists or the feeling that the sky's the limit for the Surrealists have left a strong impact on Yaël's understanding of Art. Meanwhile, the symbolism found in the Pre-Raphaelites' work or its antagonist search of ideal Beauty by the Classicists, are sources of insight. Likewise, Pop Surrealism with its colorful extrapolation of reality and its paralleled dimension where details become focal points of subliminal messages, is a movement she often identifies with. Another source of stimulus, but in a different matter, are the Transcendentalists which simply furthered her view of life and nature, while poetry – mostly from the nineteenth century, is an unwavering well of motivation.
Inevitably impacted by the Art of her time – Contemporary Art, Yaël appreciates the conceptual development it offers, while she rejects and refuses to be part of a movement in which ugliness has become idolized and Beauty holds no weight. If label need be, Yaël views herself rather within the Postmodernist movement, as she leans on the same advocacy foundations of the Modernists, yet through a critical lens of her actual environment.
Yaël has always nurtured a particular fondness for Intaglio, with its techniques that have barely evolved in centuries. In another medium, but with just as much passion, the insistent Freedom and the industrial Beauty emanating from Street Art has always left a strong imprint on her artistic mentality. There are too many artists who Yaël admires and respects in order to name them all, but yet a few demand naming: Roy Lichtenstein, Gustave Doré, Edgar Degas, Jan Van Eyck, Caravaggio, René Magritte, Salvador Dali, Egon Schiele, Gustav Klimt.
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