Yana Beylinson: Ephemeral Nature
Born in Tashkent, Uzbekistan, Yana Beylinson, came to the United States as a refugee in 1995. Beylinson is particularly interested in the study of light and its interaction with surfaces both opaque and translucent, diving deep into the botanical complexities of floral composition.
How did your creative journey begin?
I had a rigorous classical atelier training when I was very young, 10 years old, in Tashkent, Uzbekistan. I had a long hiatus and re-started as an adult in my 20s by taking all possible evening classes in various art schools in NYC.
Where do you find inspiration for your work?
I would say inspiration is mostly self-generated – I respond when I feel a burning desire to paint. However, the creative impulse comes from all possible sources: visits to galleries and museums, immersing myself in nature. Often something random, like a sunbeam on the edge of the table or a view outside my window in the morning can send me on a journey of exploration.
How has your work evolved over the last few years?
Over time, my style has gradually shifted from a realist to a more abstract and open approach. The fundamental element of my work is the brushstroke. Drawing inspiration from traditional Chinese brush painting, I emphasize the energy conveyed through each stroke. I integrate this principle with Western painting techniques by carefully blending my paint piles, giving consideration to chroma, value, and texture. As my work develops in a more abstract direction, my whole philosophy of painting is becoming more abstract. I am enamored by the tactile delicious quality of paint, by playing with it, getting excited and not getting caught up in details.
Oftentimes, I almost completely destroy my work or sand it down if it feels too realistic or not alive enough. Then I bring it back to life with meaningful strokes loaded with mounds of paint. I infuse my work with an energy of joy, play and freedom.
What does a typical day in the studio look like for you, and how has your art practice grown or changed?
I wake up early, and have breakfast with my family. After a workout, I make a fresh cup of tea and walk to my studio. This is a sacred space for me, and I enter it as such, with reverence and gratitude. The building was a pool house in our backyard which I refitted to be a proper artist studio, with a good light, white walls, and an abundance of good energy. After checking my emails I make a plan for the day. If it is a painting day, I sit down in front of the painting in progress and think about the next step. I light up my favorite incense, and put on devotional music (Deva Premal is my favorite). I go into painting like stepping into a clear healing stream. I keep working until 4 pm when my son comes back from school. Then I redirect to the second portion of my day: we go to his activities or a park, have dinner, and walk the dog. I usually come back to my studio later in the evening to clean up and to put my painting to bed – which means to resolve the edges which are too hard. Since I work wet into wet, it needs to be done sooner rather than later. On my teaching days, I don’t paint and devote all of my time and energy to my students. I teach on zoom with private students, with a completely unique approach for every person. At this point in time, I am thankful to be a full-time artist, and days are devoted to artistic practice. The other important part of my days is being a mom and running the household.
Which experiences have impacted your work as an artist?
All of life’s experiences are a part of my creative work. I feel this is true for all artists. As we mature, we continue to experience life events and process them differently over time. Everything that we see, read, hear, and feel becomes irrevocably a part of our psyche and by extension, our creative practice.
If I have to name specific experiences, they often have to do with travel. Multiple stays at Mohonk Mountain House in the Hudson Valley left a lasting impact. The forest and garden there had a profound effect on my artistic sensibilities, shaping and contributing to many of my paintings.
How has social media impacted your work?
The impact of social media is largely determined by individual usage. Personally, I avoid excessive scrolling and concentrate on exploring art, both historical and contemporary. In this regard, I find social media to be beneficial, as it introduced me to wonderful artists whom I wouldn’t have known otherwise. Additionally, it serves as a platform for me to share my own work with a broader audience.
What draws you to your subjects?
My subjects vary from figuration to still lives to semi-imagined landscapes, but they always center around floral elements and color. I don’t overthink it. Instead, I allow myself to be drawn in whatever direction captures my attention, responding intuitively to the artistic call.
Website: https://www.yanabeylinsonartist.com/
Instagram: @yanabeylinson