Mexican artist Yael Medrez Pier brings the vibrant world of Indigenous women to life through her colorful oil paintings. Her works celebrate the beauty, strength, and resilience of women, capturing intricate textiles and traditional garments with astonishing detail.
In her series Woven Heritage: A Window into Cultural Richness and Humanity through Ethnic Women’s Pioneering Textiles, Medrez Pier paints women from all over the world—from Mexico to India to Spain—showing their cultures, traditions, and stories. Scroll down to see her powerful, colorful portraits!
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#1 “María Rosa”
“As an artist, I seek to draw inspiration from the world around me. At the beginning of this summer, I was visiting ‘Mercado de Artesanías’ when a certain stand drew my attention. There was something undeniably magnetic about it. The stand belonged to Maria Rosa Medina Ramirez, a 76-year-old artisanal knitter and needlewoman. Her textiles stood out with their exquisite and sophisticated patterns.
Her hands, though aged and weathered, moved with a precision and grace beyond their years. A living testament to her dedication and love for her craft. I approached María Rosa and asked if I could sketch her while she was working. And so on several afternoons, I observed her at work, sketching as she knitted, her hands a central focus of my artwork.
When the painting was concluded, I went back to the market and invited her to my studio. She came accompanied by her children.
As Maria Rosa entered the studio and took in the details of the painting, she reached out slowly and touched the painting; her fingers brushed the canvas gently. ‘What a beautiful painting,’ she said.
Afterwards, we sat down to talk. She told me about her life, how she grew up very poor in a town named Rosalito in the state of Guanajuato, how she became a self-taught knitter and needlewoman, how she got married and moved to Mexico City, how she had her 13 children and 85 grandchildren….”
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#2 “Nwentoma”
“Just completed my painting ‘Nwentoma,’ featuring a Ghanaian woman adorned in stunning Kente Cloth. This piece is probably my favorite of the series—it captures the beauty of African culture often overlooked in westernized art. Ghana is a land of richness and color, with its people exuding grace and resilience. If the world would admire and love their skin tones as I do, perhaps we’d see less suffering in this world.”
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#3 “Lehenga”
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#4 “Sotz’il”
“Exploring the rich culture of the Tzotzil people from the highlands of Chiapas, Mexico. Renowned for distinctive textiles, they intricately craft garments reflecting centuries of tradition. With a strong connection to Mayan roots, Tzotzil communities maintain unique rituals, language, and a vibrant cosmology, intertwining spirituality with daily life.
As this series unfolds, it surpasses my initial conception. The vastness of diverse textiles from different cultures opens up a global conversation, revealing endless possibilities.”
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#5 “Día De Los Muertos”
“This piece carries the spirit of a celebration so uniquely Mexican—one that turns remembrance into a vibrant, soulful expression of life.
In Mexico, Día de los Muertos isn’t a somber mourning; it’s a joyous reunion. Streets and homes come alive with cempasuchil, candles, and altars adorned with photos, food, and favorite belongings of loved ones who’ve passed on. The air fills with the scent of pan de muerto and copal incense, as if guiding the spirits home. It’s a celebration where life and death intertwine—colorful, eternal, and deeply personal.”
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#6 “Half Of A Yellow Sun”
“This painting began with a book. I had been reading several Nigerian authors, drawn to the rhythm of their language, the depth of their storytelling, the way place and history breathe through their words. But it was Half of a Yellow Sun by Chimamanda Ngozi Adichie that truly stayed with me.
There was something about the way Adichie told the story of the Biafran war, not through grand declarations, but through the lives of women, their quiet strength, their grace, their survival. I found myself thinking about how culture, especially traditional clothing, gesture, and posture, holds memory. How it carries both pride and pain, sometimes in the same breath.
That is when I started painting her, a beautiful Nigerian woman dressed in yellow. Not just any yellow, but a bright, bold yellow that radiates warmth and resilience. It felt right. The color connected back to the novel’s title, ‘Half of a Yellow Sun,’ a symbol of a fractured but enduring hope. She became, in my mind, someone like Olanna from the novel, or maybe someone beyond her: a woman shaped by history but not defined by it. Someone who continues to carry the culture forward with grace, beauty, and power.”
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#7 “Pájaro De Fuego”
“In July 2018, I embarked on a trip to Oaxaca with the goal of capturing its essence and its people through sketches, drawings, and photographs. I visited the City of Oaxaca and explored nearby towns, each with its own distinct cuisine, crafts, unique markets, and fairs.
July is when the Guelaguetza festival takes place, the largest regional festival of the year in Oaxaca. This week-long festival includes daily parades showcasing ethnic groups from the region, each presenting their music, dances, and distinctive attire.
One Saturday afternoon during one of the parades, I encountered a beautiful woman dressed in exquisite traditional Oaxacan attire. She stood out from the crowd, and I was compelled to get to know her.
Her name was Zoila, from the municipality of San Pedro Pochutla in Oaxaca. The Pochutla area is known for its several large volcanoes, some still active. When I asked her about her dress, she proudly mentioned she worked as a dressmaker and had designed it herself.
Her beauty, creativity, and origin inspired me to create a painting. The painting depicts this striking woman against a backdrop of volcanic rock.”
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#8 “Yolanda”
“I had the privilege of interviewing Yolanda, the model and inspiration for this painting. A beautiful young woman from the town of Chenaló, in the state of Chiapas. Her natural grace immediately drew me to her.
At first, she was shy when I approached her, blushing and laughing like a young teenager. Her naivety and radiance revealed both curiosity and excitement. Yolanda’s almond-shaped eyes, dark brown hair braided neatly, and traditional attire gave her elegance.
Yolanda’s Spanish is limited, so her older cousin helped translate as they spoke Tsotsil, the native language of the region of Chiapas. I have always admired the textiles made in Chiapas, more so than any other in Mexico, for their bold colors, intricate patterns, and the deep connection they hold to tradition. Yolanda and her family weave these stunning garments for a living, a craft she explained with pride. It takes her about two months to complete each piece, as the weaving is highly detailed, and the colors are created from plants and insects.
What amazed me the most during our conversation was her deep love for her roots. She carries a profound sense of pride in her heritage and in the artistry passed down through generations. Her idealism and passion for creating resonated deeply with me, forming a connection that felt authentic and inspiring.”
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#9 “Hanbok”
“The piece portrays a Korean woman wearing a traditional Hanbok, inspired by Kim Jiyoung, Born 1982 by Cho Nam-Joo—a novel that reflects on the challenges faced by women in a society bound by tradition and gender expectations. Though dressed in the Hanbok, her gaze is defiant and sensuous, capturing the tension between cultural expectations and inner strength. This work aims to reveal the resilience and evolving identity of Korean women today.”
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#10 “Ixchel”
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#11 “Xhä’luu Na’bi’xiña” Version 2
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#12 “Tambacounda”
“Capturing the essence of this Senegalese woman’s beauty and resilience has been a true delight.
In this artwork, I aimed to convey her strength through her serious expression, juxtaposed against the textured background symbolizing the challenging living conditions and poverty in her world.”
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#13 “The Red Obi”
“As I immerse myself in this series, I find a deeper connection to my inner world and how I perceive the world around me. Art is the mirror of our soul, an expression of our beliefs, thoughts, and actions. As artists, we carry the responsibility to illuminate the world through the lens of light and beauty.”
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#14 “Madame Butterfly”
“Being a massive fan of Puccini, I felt the need to create an artwork inspired by one of my favorite operas, ‘Madame Butterfly’. The opera’s raw emotion and narrative resonated deeply with me, entwining me in its bittersweet tale.
This artwork is part of my new series, which delves into the themes of ethnicity and cultural identity through textiles.”
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#15 “The Silk Road”
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#16 “Pavoreal II”
“For this version, I wanted to explore the vibrant beauty of intense Mexican colors, especially the iconic Rosa Mexicano. Creating a second variation of the painting, but with a completely different chromatic approach, allowed me to craft a new reality—this version carries its own distinct message and voice. I thoroughly enjoyed working on it, feeling much freer and less constrained than with the first. I let the brushstrokes guide me, resulting in a more intuitive and fluid process.”
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#17 “Tach’in”
“This has been the most ambitious painting I have ever embarked upon. I integrated numerous elements to narrate a complete story. From the depiction of women to the still life, ambiance, and lighting, I attempted to ensure that each component harmoniously contributes to weaving this narrative.
These women personify Mother Mexico. They are the nurturers, providers, and guardians of sustenance for their children and grandchildren. Despite bearing the marks of years of toil and physical fatigue, they exude a distinctive beauty. Adorned in vibrant colors, each woman dons a unique outfit, symbolizing her individual tale. This scene reveres the ordinary goddesses of Mexico. Their culinary acts are sacred rituals, imbued with love, care, and mystical significance. Every detail—from the flicker of the hearth to the intricate patterns of their attire—resonates with the timeless and revered role these women play as the heart and soul of their communities.”
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#18 “Xhä’luu Chal Betë”
“Growing up in Mexico has shaped my understanding of its diverse culture. This piece is of a beautiful indigenous Istmena woman from Oaxaca. On my recent trip, I skipped the touristy spots in Oaxaca City and explored smaller towns. In one of them, the women wore these intricately detailed, colorful chals. The weavings were a masterpiece—these women extracted the pigments from fruits, plants, and animals. Colors are so pure.
I aimed to capture the beauty of an Istmena woman, young and adorned in a chal, surrounded by the austerous atmosphere of her town. The conditions these indigenous people live in are difficult.”
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#19 “Banarasi Sari”
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#20 “Perfume Of The Timeless”
“This painting is about two women selling fruit on Justo Sierra Street in Mexico City Historic Center. Filled with history, this street also carries personal significance for me. This street, where my family first lived when they came to Mexico in the 1920s, holds layers of memory. The Cobblestone Street, old doors, and architecture represent a timeless connection between past and present. These women, just as I see them today, could have been here 100 years ago, embodying a strong sense of timelessness. The scene reflects the essence of life in Mexico City, the heat, the scent of ripe fruit, and the lingering perfume of memory, where tradition and history merge.
Patricia and Violeta, the two women I painted, are sisters-in-law who run a family fruit stand in a nearby La Merced, one of Mexico’s most frequented markets. Thousands of people flock daily to La Merced to shop for fresh fruit, produce, and other goods, making it one of the busiest centers of commerce in Mexico City. While their family manages the stand, Patricia and Violeta also sell their fruit in the streets of the Historic Center.
The fruits, many of which are native to Mexico, are a feast for the senses. Mamey, Papaya, Zapote, Pitaya, Nanches, Tejocote, Guanabana, Capulin, are not only colorful and flavorful but also visually striking — eccentric, surreal, and full of life.”
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#21 “Ixchel II”
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#22 “Nelly Evelia”
“This piece is a celebration of art and artesanía mexicana—a merging of two worlds I deeply admire. Huichol beading has always fascinated me for its precision, symbolism, and visual rhythm. I’ve collected pieces for years, but with this painting, I wanted to take a step further—integrating these intricate elements directly into the work, not just as decoration, but as structure and meaning.
This is tactile. This is current. This is a portrait of Nelly Evelia, a Huichol artist who worked with me in the studio directly. Her presence is not only in the image but in the very material of the piece.
I’m excited to continue exploring ways to bridge fine art and Mexican craftsmanship—two forms of expression that, together, tell richer, more layered stories.”
Image source: yaelmedrezpier
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