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Yana Poppe was born in Indonesia and sold to a Dutch couple in the '80s. She was six weeks old when she was flown to the Netherlands. This trade (or rather theft) and everything that happened after, is the topic of many of Yana's artworks. Despite the heaviness of it, Yana's artworks are known for being colourful, mostly abstract paintings, balanced with vegetation. Yana's journey of finding a sense of belonging she quite literally takes when participating in art residencies or during her travels. This year, 2025, she is finally at peace, as she has found her sense of belonging in Indonesia. And although she is bound to the Netherlands at the moment, this sense of belonging greatly soothes her. Ever after her estrangement from the female adopter, Yana went through many spiritual lessons, and it culminated in Indonesia this year. Her most recent artwork are several ink drawings based on photos that Yana took in Yogjakarta last Summer. Like many of her artworks, she makes drawings to honour her memory of a particular place and time. There is one exception though.When Yana heard of the killing of Indonesian Ojol driver Affan Kurniawan, she decided to draw a delivery guy on a motortaxi that she had taken a photo of earlier. This is one of Yana's more political outspoken artworks, besides the song 'White Gaze'.
Published on March 2nd, 2026. Artist responses collected in months previous.
Was pursuing your creative work a calling for you? How do you define calling within your practice? Share a concise definition and a moment when this felt most true.
Making art is more of a necessity for me in order to express myself, rather than a calling. At different moments in my life I felt this strongly, especially in relation to adoption, but also during times of crises. I actually think that making art is more a way of existing. Regarding my visual art, the Hong Kong journal (2019) is the result of a time of crisis. I found myself in a very disturbing situation at an art residency and there were violent mobs in Hong Kong. After I returned to the Netherlands I decided to turn these events into a journal, because what I had documented was actually already some kind of diary. Another example is my song 'White Gaze'. At that time I suddenly saw and felt everything that adoption had done to me, as well as how it is part of this capitalist and colonialist system. I also struggled with the experience of SA. Making this song felt like it was the only way to do anything with all of these difficult emotions and thoughts.
What does a successful career in the arts look like to you today? Describe how you measure success now and note any shifts from earlier in your career.
In the past I thought that having my artworks showcased at a popular gallery would equal success, and that paying my bills from selling artworks would equal a successful career as well. Now the meaning has completely changed for me. A successful career means that I do something with passion and commitment in a manner that is sustainable. Regarding my art practice, this means I really want to keep continue making artworks as long as I live. Success is less dependent now on having an exhibition and I'd rather make something which I personally deem meaningful or important to exist in this world. I guess that before I depended too much on the outside world whether my artwork would be worthy and valid. I think much of my joy and passion dissipated in the past several years because of my own high expectations. So, I'm really content right now with having regained my love for creating again while releasing the pressure of wanting to achieve some success that is based on money and fame.
How are you kind to yourself in your art practice? (Include one or two concrete examples such as boundaries, rest, or studio routines.)
I set more realistic time limits for creating my artwork. Before I start to paint or draw I decide on a deadline to finish the artwork that I think is doable. To keep myself into a state of 'flow' I make sure that there's no room to get lazy or bored. Unfortunately I still have the tendency to dismiss taking a break, but I eat and drink much healthier and regularly than I used to. Furthermore, I do consume some sweets to make it a more joyful event. Before, I hardly took care of my health, so, I have much more energy to do things in general now. I've become better at being kind to myself, because that's the way I can keep going on for the longest. In the past I didn't mind the stress and lack of sleep so much. I accepted it as a part of me. Now, I simply don't want to go through that anymore. That kind of lifestyle is taking too much away from me. All in all, I think I have changed my perspective on health and mental health.
What impact do you hope your work has on others? Name the response you hope to spark and who you most want to reach.
I make different kinds of artworks, some more personal than others, and some more aimed at wanting to impact the public than others. The series Makanan & Minuman is based on our consumer culture where people (influencers and whomever) take pictures of their trendy drinks and food they're having (while traveling). But also mirrors back my own clumsiness at the time when I visited Indonesia to meet my biological mother for the first time. I was very emotional, distressed even, and could hardly bring myself to move my body. The only 'joy' I could create for myself was to try out Indonesian foods and drinks. Sometimes I went to a cafe or restaurant by motor-taxi, but most often I let it send to my hotel. Although none of these emotions have (yet) been expressed in an artwork, to me it is very telling that these lighthearted watercolors were the most I could do. I don't need the public to know all this, but it is fine if they will find out by coming to this website. I notice that when my emotions are still raw, I'd rather not share so much about my artworks.
Do you have any rituals or spiritual practices that you integrate into your daily life as an artist? If relevant, mention frequency, timing, or how the practice supports your work.
I am in the midst of creating a more sacred space of my room & studio. I've been throwing away a lot of stuff already over the past years, but ever since I'm estranged from the female adopter, almost everything from the past is gone now. I have also painted most of my walls and bought quite a few plants. A ritual that I've been doing for over a year now, is burning incense sticks in the morning and in the evening. I don't meditate and practice qigong as much as I did before the Summer. Also, I've been reading less about Taoism and the I-ching ever since I started doing volunteer work for 16 hours a week. I do miss it, but I find a lot of healing in working with people with special needs. I usually take a shower right after work and burn incense to release any negative energy and disturbances. I hope to start creating new artworks again in January, after I have regained more stability at my workplace. By the way, I actually see cooking as a daily ritual too. The lighter and more peaceful I feel, the better my focus is when creating artwork.
Was pursuing your creative work a calling for you? How do you define calling within your practice? Share a concise definition and a moment when this felt most true.
Making art is more of a necessity for me in order to express myself, rather than a calling. At different moments in my life I felt this strongly, especially in relation to adoption, but also during times of crises. I actually think that making art is more a way of existing. Regarding my visual art, the Hong Kong journal (2019) is the result of a time of crisis. I found myself in a very disturbing situation at an art residency and there were violent mobs in Hong Kong. After I returned to the Netherlands I decided to turn these events into a journal, because what I had documented was actually already some kind of diary. Another example is my song 'White Gaze'. At that time I suddenly saw and felt everything that adoption had done to me, as well as how it is part of this capitalist and colonialist system. I also struggled with the experience of SA. Making this song felt like it was the only way to do anything with all of these difficult emotions and thoughts.
What does a successful career in the arts look like to you today? Describe how you measure success now and note any shifts from earlier in your career.
In the past I thought that having my artworks showcased at a popular gallery would equal success, and that paying my bills from selling artworks would equal a successful career as well. Now the meaning has completely changed for me. A successful career means that I do something with passion and commitment in a manner that is sustainable. Regarding my art practice, this means I really want to keep continue making artworks as long as I live. Success is less dependent now on having an exhibition and I'd rather make something which I personally deem meaningful or important to exist in this world. I guess that before I depended too much on the outside world whether my artwork would be worthy and valid. I think much of my joy and passion dissipated in the past several years because of my own high expectations. So, I'm really content right now with having regained my love for creating again while releasing the pressure of wanting to achieve some success that is based on money and fame.
How are you kind to yourself in your art practice? (Include one or two concrete examples such as boundaries, rest, or studio routines.)
I set more realistic time limits for creating my artwork. Before I start to paint or draw I decide on a deadline to finish the artwork that I think is doable. To keep myself into a state of 'flow' I make sure that there's no room to get lazy or bored. Unfortunately I still have the tendency to dismiss taking a break, but I eat and drink much healthier and regularly than I used to. Furthermore, I do consume some sweets to make it a more joyful event. Before, I hardly took care of my health, so, I have much more energy to do things in general now. I've become better at being kind to myself, because that's the way I can keep going on for the longest. In the past I didn't mind the stress and lack of sleep so much. I accepted it as a part of me. Now, I simply don't want to go through that anymore. That kind of lifestyle is taking too much away from me. All in all, I think I have changed my perspective on health and mental health.
What impact do you hope your work has on others? Name the response you hope to spark and who you most want to reach.
I make different kinds of artworks, some more personal than others, and some more aimed at wanting to impact the public than others. The series Makanan & Minuman is based on our consumer culture where people (influencers and whomever) take pictures of their trendy drinks and food they're having (while traveling). But also mirrors back my own clumsiness at the time when I visited Indonesia to meet my biological mother for the first time. I was very emotional, distressed even, and could hardly bring myself to move my body. The only 'joy' I could create for myself was to try out Indonesian foods and drinks. Sometimes I went to a cafe or restaurant by motor-taxi, but most often I let it send to my hotel. Although none of these emotions have (yet) been expressed in an artwork, to me it is very telling that these lighthearted watercolors were the most I could do. I don't need the public to know all this, but it is fine if they will find out by coming to this website. I notice that when my emotions are still raw, I'd rather not share so much about my artworks.
Do you have any rituals or spiritual practices that you integrate into your daily life as an artist? If relevant, mention frequency, timing, or how the practice supports your work.
I am in the midst of creating a more sacred space of my room & studio. I've been throwing away a lot of stuff already over the past years, but ever since I'm estranged from the female adopter, almost everything from the past is gone now. I have also painted most of my walls and bought quite a few plants. A ritual that I've been doing for over a year now, is burning incense sticks in the morning and in the evening. I don't meditate and practice qigong as much as I did before the Summer. Also, I've been reading less about Taoism and the I-ching ever since I started doing volunteer work for 16 hours a week. I do miss it, but I find a lot of healing in working with people with special needs. I usually take a shower right after work and burn incense to release any negative energy and disturbances. I hope to start creating new artworks again in January, after I have regained more stability at my workplace. By the way, I actually see cooking as a daily ritual too. The lighter and more peaceful I feel, the better my focus is when creating artwork.
Find Yana Poppe on Instagram
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