Yani deSousa is an artist of domesticity. Yet within this circle of domesticity viewers can detect the gradual encroachment of what threatens the sense of being at home—and what might even undermine it.
Hope is something like a portrait of a sink. Regarding the work, the viewer is struck by how the utility of the sink only exists because it is, in truth, suspended in nothingness. In this manner, what seems all-too-tranquil at first, even banal, comes to indicate a future where the sink, as well as the viewer herself, will no longer exist.