Yana Beylinson
Investigating themes of spirituality and the nature of light, painter Yana Beylinson dives deep into the complexities of floral composition and still lifes, employing the immediacy of live subjects as a catalyst for purposeful and focused action without the interference of daily distractions. Beylinson is particularly interested in the study of light and its interaction with surfaces, both opaque and translucent. From this perspective, colors and shapes become independent entities, equal to the physical subject matter she represents.
A professional artist with an international following, Beylinson has developed a signature style that she applies to all aspects of her practice. Born in Tashkent, Uzbekistan, Yana began a rigorous education in painting at the age of 10. She came to the United States as a refugee in 1995. Beylinson earned her BBA at Baruch College in New York City in 1999. From 2000 to 2002, she attended the School of Visual Arts. Beylinson took continuing education courses in fine arts at the New York Academy of Art and continues to further her education through ongoing studies.
Beylinson’s work has won a number of awards and belongs to private collections internationally, as well as a public collection at Richmond University Medical Center, Staten Island, NY. As part of her extensive practice, she has created large-scale installations in Hong Kong and China.
Statement
The creative process for me coincides with my spiritual journey, complete with a deep meditation practice. Each painting is a documentation of my transformation and liberation.
Brushwork is at the core of my practice. Every stroke I make is unique and carries an energy of its own, all of them fusing in a visual symphony. I constantly experiment with stroke applications. Having studied traditional Chinese brush painting, I combine the methodology with Western painting principles. I let the movement be what it is, keeping the energy alive.
Currently, I am working on two bodies of work simultaneously. I find both equally important in my creative exploration. One of them, titled The Dutch, creates transcriptions of master paintings in a decidedly contemporary way, with bold abstract brush strokes and chromatic pigments.
The other, titled Goddesses, explores the complexities of the human spirit seen through an archetypal lens. Female figures exist within the flowers and imagined fields of vision, blurring into abstraction and evoking the archetypes of the divine feminine.
Whether painting still lifes or imaginary figures, my work centers around the liberation of the spirit, from a female but also a universal perspective.
What initially sparked your interest in art?
Visual art, specifically painting and drawing, has been my passion and vocation for as long as I can remember. It feels like a natural part of my psyche that I was born with, and I have always been captivated by the process.
What connects your work together and what keeps you creating?
Oil painting is my favorite thing in the world. I love everything about the texture and feel of the paint, the process of modulating the chroma and temperature. It is like composing a complex symphony with various instruments together forming a cohesive whole. This is the process of intense search and not always finding the ineffable. The magic is in the process.
Describe your work using three words.
Channeling – Magic – Connection
What are you most proud of as an artist, whether it's a specific moment or who you are as an artist?
I am proud of being able to identify art-making as a sacred vocation and as a spiritual endeavor. Fully accepting this assignment has elevated my work to a higher level that I never thought was possible.
If you could be in a two-person exhibition with any artist from history, who would it be and why?
It would be wonderful to exhibit with Georgia O'Keeffe, Rachel Ruysch, or Frida Kahlo.
