HANNAH FAITH YATA

Hannah Faith Yata

Originally from Georgia and living in New York, painter Hannah Faith Yata is inspired by themes of feminism, flora & fauna, and humanity, all of which define her work to the core. Her portfolio is wired with invisible, vibrating connections to our world and the pulsing forces we so rarely pause to recognize. She interprets the living organism in such a way that it becomes something more than flesh and bone- something mystical and curious and crucial to the fragile structure of the world we know as ours.

In terms of composition, Hannah doesn’t hesitate to fill the canvas to the brim, slipping off its edges when she needs to. Her subjects are centered, caught off guard and highlighted by the various perspectives within the given piece. Vanishing points make way for extreme close-ups, and backgrounds are kaleidoscopic, giving each canvas the feel of a parallel- universe rock poster with a message. Textures melt into each other, creating cohesive scenes with elements that are often hidden at first glance, making each viewing more of an interactive experience.

The majority of Hannah’s imagery involves the body- limbs and folds of skin are exaggerated in both human and animal form, making for an interesting relationship between the physicalities of the two. This, paired with candy-coated color explosion results in highly interpretive paintings; a mad hatter’s spin on the natural world. One piece in particular demanded my attention, and I think it embodies the whirlwind that is Hannah’s creative vision. It’s a painting featuring two women, one on her feet, one on her knees, both wearing jumbled masks instead of faces. To me, the poses echo Vegas showgirls, and the swirling floor underneath the girls is a chaotic machine, a giant friendly lollipop sent to destroy. There’s a million and one double meanings behind the peace, and the sheer volume of information makes for an immensely satisfying metaphor.

Hannah’s work is infused with a syrupy femininity, one that reverberates through the organisms she paints and the world (or worlds) they inhabit. The effect is a fantastic one, feeing ominous at times but never lacking a clear connector to social and environmental aspects of the world around us. Suspended in tranquility, her subjects speak in color, mouthing universal verse that anyone can understand.

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