Yentis was born in London on the 31st May 1994, she started drawing and making art as soon as she could hold a pencil. She continued to expand her use of material every day, winning many art competitions and receiving several gold awards throughout school for her outstanding art practice. During high school, Yentis took part in numerous out of school art classes, gaining as much experience as possible. Painting and drawing the human body from life was her way of calming the mind, expressing herself and disappearing into a beautiful world of distinct colour, and imagination. It became apparent around her early teens that this is what she wanted to spend her life doing. Having completed an art foundation at Hampstead School of Art and graduating from a three year advanced art course, Yentis has made a bold transition from studentship to professional practice through exhibitions and obtaining art commissions. She has shared her joy of art with the next generation of artists by teaching children to paint and draw. As well as taking part in many different art fairs, live painting demos, and teaching techniques to a large audience.
Working predominantly with oil paint, Abigail Yentis has a noted way of “bringing the content to life”. Starting as a highly figurative portrait painter, Yentis has since expanded her practice to explore the relationship between the environments and narratives of a wide variety of people. She continues to produce paintings that are directly observed from life.
Having taken part in numerous collaborative exhibitions, such as recently completing a piece for the ‘No Artist No Art’ campaign at the Lights Of Soho Gallery, as well as a piece for the collaborative exhibition, ‘EU & I’ at the Doomed Gallery, Yentis experimented with varied scale and composition in oil paintings and collage. She is vocal in her opinions regarding topical and historical political events. Yentis spends a lot of time investigating the texture of different qualities of paint as well as collage and is engaged with the process of building large paintings inspired by past journal and sketchbook entries rather personal to her. This process provides closure as Yentis comes to terms with the records that were once the main focus of her mind. A series of paintings titled My Journal; Myself And You was exhibited in a solo show at The Hampstead School of Art gallery, June 2017.
Yentis currently investigates the fluidly of paint and mixed media. Having spent many years studying the human body and its relationship to life, Yentis furthers her fascination of exploring beyond merely the human shell. “I am truly engrossed in using the process of painting as a fluid vessel, which mimics and mirrors the human body; a live organ constantly growing and ever changing. The idea of the artwork taking a life of its own captivates me. The anxiety that stems from the passing of our physical existence onto an unknown plain has made me include, within my latest body of work, explorations of the infinite cosmos: a dark, unknown world outside the comfort of everyday life.”
Yentis seems captivated with the finality of the human form in her latest creative project “Shadows Of A Dream”. There is a focus on female anatomy but not exclusive to it. A reconstruction of it on canvas lends itself to observing the body in the infinitely wider context of the physical universe, such as in her piece ‘None’, wherein the female organs are juxtaposed against the stark nothingness of space. The cosmic theme subsists in circular orbs throughout this series, in which planetary, perhaps even religious connotations, permeate the question of “where does the body end and the soul endure?” The transience of the body and subsequently the notion of its beauty is also central the painting ‘Am I beautiful yet?’ has as its muse an interesting character that that she met over a period of months who was undergoing gender reassignment surgery. Other tools-come-inspiration are the artist’s journal and sketchbook entries, that after imbued with her personal experiences, add a level of poignancy to the writing, with many of the original pages incorporated into the images.
An abundance of deep, dreamlike and surrealist visions, each painting is carefully produced over lengthy periods of initial rumination, then returning and reapplying layers, as if to form organic, skin-like layers in a process that Yentis describes as ‘a live being in its own form'.
Within this project I plan to continue my practice of collating past journal entries and excepts from personal scrapbooks and projecting them over large canvases in an effort to express certain challenges and experiences I have faced in life. I intend to use collage in order to create surrealist layering that juxtaposes recognizable imagery with that of an intangible cosmic nature. I take pleasure in observing how different paints react over time, to the ways I apply and mix them together, sometimes creating a “skin” much like that of a human. Observing how paint mimics a living organism, over time exhibiting a life of it’s own, creating its own art, almost living and breathing independently. Furthermore, I plan to continue to use text within my work as a way of expressing deep emotive truths through my love for the written word. Finally, this project shall also be devoted to my personal exploration into the mysterious wonders of the cosmos. Examining the underlying numinous understanding we universally share towards that which is so wildly unknown. I wish to leave the viewer questioning both the work and their place inside it, subsequently (hopefully), ultimately, questioning their relation to themselves in lieu of it.