
B
Between Beauty and Brokenness





Welcome
Welcome to a place where art doesn't look away.
Here, each work bears witness to the world's scars, to flashes of an indomitable light. This is not a gallery, but a cry woven from grace, a refuge for forgotten silences, a bridge between pain and hope.
My art is born from the unfathomable, from terror traversed, transmuted, sublimated. It carries the voice of broken women who rise again, of wounded children who still dream.
My works are not simply a quest for beauty; they are, above all, an invitation to reflection. They invite you to see, hear, feel, and act.
Visit my website www.kijaillit.com to follow projects with children living on the streets and survivors.
C
Creations

Jàmm (Wolof - Sénégal) UnYk 278 Mars 2025 100cm / 100cm Technique: Matière mémoire, pigments nobles & caméléons

AsaseYa (Akan-Ghana) UnYk 299 Février - Avril 2026 190cm / 190cm 1 Rutile quartz taillée par Akiba (2022) Technique: Matière mémoire, Pigments nobles & caméléons, sables et pierres

Inâ (NIgeria) UnYk 302 Février 2026 100cm / 100 cm Technique: Matière mémoire, pigments nobles & caméléons

Ishyaka (Rwanda) UnYk 301 Fév. - Mars 2026 170 cm / 170 cm Technique: Matière mémoire, 2 grenats brut Pigments nobles & caméléons

Serity (Sotho) Dignité invisible UnYk 300 Jan - Mars 2026 200cm / 220 cm 1 Grenat facette 3,5CT (Tumai TZ) 1 oeil de tigre Technique: Matière mémoire, pigments nobles et caméléons

Nyansa (Akan-Ghana) UnYk 298 120cm / 150cm Mars 2026 1 Amethyste facette taillé par Tumai en Tanzanie

Sika - Valeur précieuse en Akan - Ghana UnYk 297 Avril 2026 120cm / 120cm 1 Scapolite jaune 3.5CT (taillée par Yvette) Techniques: Matière mémoire, Pigments nobles & caméléons

Tafari (Ethiopie) Majesté UnYk 281 200cm / 200cm Juillet 2025 1 Purple Scapolite Julienne Technique: Matière mémoire, pièrres, pigments nobles et caméléons

Kalunga (Kikongo-Congo) UnYk 244 150cm / 160cm October 2024 Techniques: Matière mèmoire, 1 tanzanite facette, pigments nobles et caméléons
Hello
My name is Yasna...
Les enfants de la rue m’appellent KokoYa.
Je suis artiste peintre, mais ce que je fais n’est pas que de la peinture.
C’est une traversée. Un passage.
Je suis passeuse d’histoires …
…d’histoires brisées, effacées, étouffées,
d’enfants abandonnés dans la poussière,
de femmes dont le corps a été détruit, vendu, déchiré.
Des récits qu’on ne veut pas entendre.
Et pourtant, je suis convaincue qu’aucune douleur n’est définitive.
Chaque tableau, chaque pierre, chaque couleur que je pose
cherche à réparer, à rassembler, à dire ce qu’on tait. Car une fois dit la douleurs peut recevoir les soins.
Je crois qu’il existe des issues.
Pas dans l’oubli. Pas dans la colère.
Mais dans l’amour, la dignité retrouvée, et parfois, dans le pardon.
This heart is not a detail. It opens the door to the UnYk Project.
A project of life, of transmission and of true beauty.
Click on the heart to discover the vision.



14-41 The Experience
A lively, intimate, and open place.
Here, I open the doors to a space where each painting carries a piece of history—mine, theirs, perhaps yours.
This isn't just any gallery. It's a shared slice of life, where art isn't admired: it's felt, it's lived.
Come discover 14.41, where the invisible becomes palpable.
Raw materials
What pain cannot express, the raw material expresses. In the cracks, the wounds, in the stones, the reconstruction, in the figurines, the stories, in the pigments, the shadow and light of a single experience.

Cracks

Stones

Figurines

Pigments
Where raw material remembers
It all started with an egg...yes, a simple egg!
An egg I was forbidden to eat, an egg I ate anyway, my heart pounding, defying my father—a man one did not defy. I was only 14. That day, I had to leave home, never to return. Carried by a breath of freedom, the street, silent and harsh, welcomed me.

T
Testimonials
“This painting is not just a work to look at, it is a presence. It resonates with something deep that both anchors and uplifts me. The textures, the colors, the contrasts tell an intimate, universal story. It evokes both solidity and transformation, like what everyone goes through in their lives. It speaks of light, of flaws, of movement. You can feel Yasna's hand, but also her heart. The fact that it was painted with me in mind reinforces this connection. It is a work full of generosity and emotion. The relief it contains reflects the richness of the human experience. This painting reminds me that even in the shards or the shadows, there is meaning, beauty, a light to capture. It helps me remember that, like the precious stone that arbitrates it, we all carry within us an inner richness that sometimes just needs to be rediscovered.”
Malolo


NATOYAA – Dance
May 2024. Back from Africa, my mind was still imbued with the warmth of this African land that I love so much, the pulsations of an intense life, the rhythms that make the soul vibrate. Natoyaa, which means dance, was born from this incandescent breath. Red reigns supreme—fiery, visceral, vibrant. It is the fire of movement, the energy of life, the raw strength of resilience. It intertwines with golden bursts and glittery crackles, capturing the light of day and the depth of night. Each reflection, each crack, is a story that changes with the hours and the light. A zircon is embedded in the canvas—a stone of clarity and strength, it captures the light and makes it dance, like an echo of this living painting. I saw how dance was a vector of healing for children. Through each movement, they expressed what could not be said, released what weighed on their souls. Where we lived together, dance was omnipresent, spontaneous, instinctive, like a silent language of resilience and hope. It sprang forth naturally, like a vital force. I was deeply touched by this spontaneity, by this way of transforming pain into movement, into rhythm, into light. Discreetly, in the shadows of my work, small phosphorescent characters keep watch. Barely visible during the day, they light up in the darkness, like those forgotten street children, those who are neglected, abandoned. May we all watch over them, looking at this work and thinking of all the children in the world who should be protected.
C
Contact me
Do you have any questions or specific requests? Don't hesitate to contact me using this form. I'll be happy to answer you!





