Despite the organic style, Yadav does not shy from social commentary. Her piece ‘Disaster Tourism’ makes light of the government’s ineffective response to floods in the Tarai, using satire and irony to show feckless politicians ‘inspecting’ the damage from afar.
Communicating injustice and societal wrongs through art has always been Yadav’s motivation, and she is an advocate of the real-world benefits of Mithila art in a conservative society skewed by gender imbalance. Many of her painting depict emancipation: women flying helicopters, driving cars, being set free from cages.
She says, “I am satisfied if my art manages to enlighten even just one person. Most Mithila women are skilled in traditional art, and if those skills can be applied to canvas, income can be generated, heritage preserved at the same time. The bonus is that they also get to spread message about the need for change.”