YoYo Lander

Now Dallas Art Fair with Zidoun-Bossuyt!

“Never Hardly, Always on Time”
2026
YoYo Lander
Stained and cut watercolor paper and acrylic on canvas.
57 x 55 x 1 1/2 in

In Never Hardly, Always on Time, Lander presents a rhythmic, singular composition inspired by Roger Raveel’s 1975 painting, Human Couple. The work reinterprets the Belgian master’s exploration of the “absent-present” figure through a sophisticated interplay of fluid paint and structured paper.

A sharp chromatic threshold cuts through the canvas: to the left, a figure stands anchored in the warm, terracotta tones of a domestic sanctuary, their form built from a tactile “bodyscape” of collage. To the right, the room shifts into a cool, monochromatic teal, where the figure becomes a stark, white silhouette. Only the eyes and brows of this second form are collaged, creating a piercing point of focus that suggests an interior self watching the world move forward. The work captures the friction between the feeling of being perpetually behind and the radical grace of finally arriving—suggesting that while we may feel “never hardly” ready, our essence is always, inevitably, on time.

I’m very excited to be exhibiting at the Dallas Art Fair opening today until Sunday with Zidoun-Bossuyt (Booth F9)!

Franklin’s
2026
YoYo Lander
Stained and cut watercolor paper and acrylic on canvas.
86 in. X 50in X 1.5 in.

In the American South and far beyond, the corner store is the neighborhood’s primary pulse. While this work captures Franklin’s—a former landmark of Woodrow, South Carolina—it maps a much larger, essential geography. These storefronts are the unspoken anchors of our towns: the “third places” where the hard lines of labor and home soften into something communal.

There is a specific, unadvertised frequency to these spaces. You feel it in the Friday evening rush for a cold beer after a week’s wages; the electric hope of a scratched lottery ticket; the drift of fried fish or hickory smoke from a back room. These are landmarks that require no digital footprint—everyone simply knows the way. Through her signature collage, Lander layers the physical textures of Franklin’s to examine the durability of this social fabric. It is a tribute to a vanishing model of trust—an era of hand-written IOUs and generational handshakes—documenting the anchor points we risk losing: the grit, the grace, and the radical consistency of the local corner store.

‘The Revelation of Dionne Daphne’ hits shelves this summer — and I’m beyond honored to have created the cover art.

I so admire Mara Brock Akil’s artistic voice! Her storytelling has shaped so many of us, and to have my artwork visually introduce this story to the world means more than I can say.

Huge thank you to , , and the brilliant for the opportunity.

And a very special shoutout to one of my muses,
🤍

In stores everywhere June 30th.

One year ago I got to experience what most people would call a once-in-a-lifetime opportunity — attending the Super Bowl alongside some of today’s most incredible artists!

Just soaking up a few memories today. Forever grateful for this unforgettable moment. Feeling so blessed!

Installation view, When We See Us, Liljevalchs 10 Oct 2025 – 11 Aug 2026. Photo: Jean-Baptiste Béranger.

When We See Us – A Century of Black Figuration in Painting is organized and conceived by Zeitz MOCAA.

Art by me! 😊

Happy To Lose
2025
YoYo Lander
40 in. X 30 in. Stained, washed and collaged watercolor paper on canvas.

A Friend of Mine
2025
YoYo Lander
26 in. X 20 in.
Stained, washed and collaged watercolor paper on canvas.