Yolanda Mora: In mars, the invention

« L’homme de Lascaux créa de rien ce

monde de l’art, où commence la

communication des esprits »

Georges Bataille.

As Yolanda Mora paints, this artist in love with freedom lets her inner self dictate a rhythm she consciously rejects but that would be difficult to deny in her finished work. This rhythm, nonetheless, is not imposed by reason, but arises from the mystery of creation itself. As a free style of painting, Yolanda Mora’s work carries the stamp of nebulous origin that marks the stirring, in the midst of the blackest darkness, of every creative act, beginning with that of the universe into which we are born and to which we belong thereafter. “Inner imagination” is perhaps the best way to describe the creative activity to which Yolanda Mora has dedicated herself, because it draws upon emotional movements that arise from the deepest parts of her inner self and that in no way constitute an “abstract” academicism.

In the work of Yolanda Mora we can see movements of the soul, inner events, that have all the nuances of sensibility, from the lightness of happiness to the depths glimpsed in contemplation, like reflections that appear on the surface of a cenote of unknown depth, from whose waters arise suddenly reminiscences of indefinite beings—sometimes barely a few beams of animated light—that seem to send us a signal. Looking at this painting, we establish a dialogue with those whispers that escape the artist’s deepest inner secret, like the observer’s: “a pictorial thinking,” one could doubtlessly say regarding this painter. In the presence of such miracles we can imagine the first painters of Lascaux, deep in their cavern-womb, creating everything from nothing, in spite of the illusion of figurative art, with natural pigments that somehow live on in Mora’s canvases. Without a doubt, here we can invoke Bataille when he says, “The man of Lascaux [and why couldn't it be a woman, we could ask here] created from nothing this world of art in which the communication of the spirits begins.”[insert footnote: Fynsk, Christopher. “Lascaux and the Question of Origins.” Poiesis: A Journal of Art and Communication, vol. 5, 2003, pp. 6–19.]  Too bad for those who do not believe in the magic of beginnings, setting against it the boring foolishness of history. Free creation is the act of resistence par excellence, and though it may come from the most hidden inner spaces, only that act carries with it the promise of every authentic revolution.

Esteban García Brosseau, 23 de abril, 2021