[5] During her time in Paris, Yarrow associated with many surrealist artists, including Leonora Carrington, Isamu Noguchi, Marcel Duchamp and Max Ernst.
'[11] In the 1930s Yarrow suffered an emotional breakdown and spent time in Switzerland, where she met Carl Jung, and entered a clinic in Morges where she underwent analysis.
[12] Yarrow's experience of undergoing Jungian therapy resulted in a series of watercolours, many of which feature menacing, brightly coloured geometric personages, and some of which specifically reference Morges in their titles.
[1] Yarrow's move to New York was prompted in part by Hayter's relocation of Atelier 17 to the city in 1940, and she continued to associate there with surrealists in exile such as Ernst, Carrington and André Breton.
[18] After her years in New York, Yarrow returned to Britain, where she focused increasingly on ceramics and pottery, establishing a workshop/studio that included an oil-fired kiln in the garden of her mews cottage in St John's Wood.
[19][20] The 1950s and 1960s saw her experience a period of creativity, producing a diverse array of work in using mono print and pastels, as well as mixed materials such as sand.
[8] In 1944 Yarrow was included in the exhibition New Directions in Gravure: Hayter and Studio 17 at the Museum of Modern Art, New York, which traveled for two years across the United States.
[28] In 2018, Yarrow's ceramics featured in the Collect 2018 exhibition Masters of Studio Pottery, co-curated by the Crafts Council and the Fitzwilliam Museum, Cambridge.