Yonamine is very spontaneous in his work: he thinks about pictures or objects, old photographs, cigarettes packs, or curious textures, then follows their trail to create, to subvert certain applications and to give them other semiotic readings, by reinventing the fragments of different memories in a register of composed intelligibility. Conflict and unpredictability abound in his work and it’s this not classifiable side that troubles, in a good way, who watches it. You can immediately feel the urgency, and this may come largely from living in Angola.
Yonamine is very spontaneous in his work: he thinks about pictures or objects, old photographs, cigarettes packs, or curious textures, then follows their trail to create, to subvert certain applications and to give them other semiotic readings, by reinventing the fragments of different memories in a register of composed intelligibility. Conflict and unpredictability abound in his work and it’s this not classifiable side that troubles, in a good way, who watches it. You can immediately feel the urgency, and this may come largely from living in Angola. 
