Sara Yourist
As a self-proclaimed hoarder of historical and decorative imagery, Sara Yourist paints fabricated narratives that tiptoe between the realms of surrealism and still life. Inspired by operatic stage design, she creates artificial compositions that recontextualize the objecthood of porcelain figurines to convey a sense of uneasiness and uncertainty. Sara received her MFA from Indiana University and a BFA from West Chester University of Pennsylvania, where she discovered a deep passion for painting. As a former preschool teacher, Sara draws inspiration from the imaginative nature of childlike play, reenacting scenarios of inner turmoil and delight using toy-like figurines. Through her work, she explores the idea of frivolity through visual excess, underpinned by themes of control and delusion. She is particularly interested in the relationship between humans and their innate need to control—be it other people, animals, the environment, or themselves. Sara is currently a Visiting Professor at the J. Irwin Miller School of Architecture in Columbus, Indiana. When she’s not in the studio, Sara can be found taking classical voice lessons, rearranging the furniture in her apartment, and scouring online antique auctions.
www.instagram.com/sarayourist/
Who and/or what are your influences when you were first starting out vs. now?
Art was, and always will be, a necessity for me. I think it stems from watching my father, who is a professional sculptor, create his own art. He instilled a deep passion for self-expression and a never-ending quest for what’s possible when you put your mind to it. I owe all that I am to him and those I’ve learned from. I believe that we, as artists, are a mere sum of everyone around us—be it family members or other artists. I could go on for days about particular artists, but one that has had a lasting impact on me is Hieronymus Bosch. I could stare at The Garden of Earthly Delights until my eyes turned to mush.
While composing my current paintings, I am inspired by an act of theatricality and curation. I reference museum arrangements, operatic set design, cabinets of curiosity, natural history textbooks, and the arrangement of living environments to organize and direct a visual narrative. To initiate a painting, I create a digital collage first and then reference that collage for an oil painting. I utilize a lot of found imagery, mostly from museums, online auctions, and interior design magazines.
What is your favorite thing about the material/s you use?
Painting drew me in like a magic act. The medium is delightfully deceitful due to its illusionary qualities that suggest depth while reinstating a physical objectness with its sculpted surface. Painting has a wonderful immediacy and forgiving quality that allows for prolonged engagement. The most delightful aspect is searching for a formula of color relationships that either sing upon the canvas or become muddied in unexpectedly profound ways. The paint can sometimes be gross and uncomfortable, mimicking bodily fluids or alien-like goop, and I am therefore intrigued by a painting for more than just its instant visuals. I think of this when looking at artists such as Chaim Soutine, whose grotesque layers of paint are fleshy and askew, unfolding in front of our eyes as if they have a rancid smell of sadness and uncertainty.
What would you say is hidden just underneath the surface of your work? Meaning, what are you revealing to your viewers?
In my work, I recontextualize the imagery of historical porcelain figurines within an artificial landscape to form a fabricated narrative. The objects resemble less infantile toys with an untouchable demeanor. The sugar-coated allure of the candy-like colors is merely a façade for what is truly occurring in the scenes: deceit, fear, and unrest.
Within my compositions, I utilize antique porcelain figurines as stand-ins for the figure. I specifically choose 18th and 19th-century porcelain, such as Meissen or Staffordshire, due to their depiction of a crescendo to a pivotal moment. The figurines are not only visually compelling but also possess humorous and sometimes strange imagery. Despite their ornate and decorative forms, they often depict horrific scenes due to the period in which they were created. I delight in the duality of something that appears beautiful while concealing a crumbling disposition, all wrapped in a delicate bow.
On the other hand, the opposite phenomenon may occur with the use of these figurines. In my painting A Spark of Unrequited Lust, a feminine figure appears to be escaping the clutches of a masculine presence as he forcefully attempts to assert his dominance. This may reinforce current topics of bodily autonomy and domestic roles. However, the figurine was originally created to depict a dentist pulling a tooth—not nearly as sinister as it appears. From a contemporary context, the figurines can be seen as slightly controversial and even confusing, something I want to highlight within the work.
Can you tell us about a turning point in your practice? Was there a moment when things started clicking?
That “a ha” moment happened during the final year of my graduate painting program in 2023. I stopped trying to force myself to be a different painter and unabashedly gave into the things that I truly love about art. I realized that the techniques I’ve been using all along were the most impactful, instead of watering myself down to fit into a predetermined mold. This is, however, just the start of my journey, and I know my work will continue to change and evolve over time.
In honor of our women’s issue, who are three women and/or gender nonconforming artists that inspire you?
It’s so hard to choose just three! One would be Florine Stettheimer for her fanciful and theatrical compositions within a mesmerizing and tactile surface. Another would be contemporary artist Scott Csoke, who redefines queerness and queer representation within beautiful and playful paintings that are pure eye candy. Finally, my undergraduate painting professor and friend, Kate Stewart, has been a source of inspiration. After all these years, we still check in and discuss our artwork and goals. To me, having that type of support as an artist is invaluable, and I’m so grateful for it. Her creativity and artwork inspire me to keep going.
