**Enid Yandell** (June 10, 1869 – June 12, 1934) was a pioneering American sculptor celebrated for her mastery in portrait busts and monumental sculptures. Born in Louisville, Kentucky, Yandell’s artistic journey was significantly shaped by her Human Design as a Generator. This designation, characterized by her Sacral Inner Authority and a strategy of responding to the world around her, empowered her to engage deeply with her environment, resulting in a body of work that resonates with both personal and collective narratives.

Yandell’s artistic education began at Hampton College, where she earned degrees in chemistry and art. She further honed her skills at the Cincinnati Art Academy, completing a rigorous four-year program in just two years and earning a first-prize medal upon her graduation in 1889. Her Generator energy was evident in her relentless dedication to her craft, as she actively sought out apprenticeships with prominent sculptors such as Lorado Taft, Philip Martiny, and Karl Bitter, allowing her to respond dynamically to their teachings.

A significant highlight of Yandell’s career was her involvement with the Horticultural Building at the 1893 World’s Columbian Exposition in Chicago. Here, she was part of a collective of women sculptors known as the “White Rabbits,” organized by Taft. Yandell’s Generator energy shone through as she designed and carved the caryatid that supported the roof garden of The Woman’s Building, showcasing her ability to respond to both opportunities and challenges in her artistic endeavors.

In 1892, she co-authored a semi-autobiographical account titled *Three Girls in a Flat*, which reflected her experiences during the fair’s planning, further illustrating her Generator trait of responding to life’s unfolding events. Yandell’s artistic prowess was further refined during her time in Paris, where she studied under renowned sculptors, including Auguste Rodin and Frederick William MacMonnies at the Académie Vitti. Her frequent returns to Paris allowed her to maintain a studio and exhibit at the prestigious Paris Salon, where she showcased her unique style that blended technical skill with emotional depth.

In 1898, Yandell made history by becoming the first woman member of the National Sculpture Society, a testament to her influence and standing in the art community. Her work is celebrated in various collections, including a significant number of pieces in plaster at the Speed Art Museum in her hometown.

As a 4/6 Profile in Human Design, Yandell embodied the role of a role model and wise guide, navigating her career with a blend of personal experience and learned wisdom. Her Incarnation Cross, the Right Angle Cross of Tension (48/21 | 39/38), reflects her life’s journey, marked by challenges and tensions that ultimately contributed to her artistic legacy. The channels in her Human Design, including 43-23, 15-5, and 28-38, further illustrate her unique approach to creativity and expression.

Enid Yandell passed away on June 12, 1934, in Boston, Massachusetts, leaving behind a rich legacy that continues to inspire future generations of artists, embodying the essence of a Generator who responded to the world with passion and creativity.