1973, Istanbul, Turkey.
1992 – 1996 Mimar Sinan University, Fine Arts Faculty Department of Ceramics, Istanbul.
2010 Contemporary Istanbul Art Fair, Alta Fine Arts Gallery, Istanbul.
2010 Nisyan, Personal Exhibition, Gallery Kent, Istanbul.
2009 Artist Tuyap Art Fair, Karsi Art Gallery, Istanbul.
2008 Multiple Connection, Pogmahon Gallery, Vienna.
2007 Artist Tuyap Art Fair, Karsi Art Gallery, Istanbul.
2007 Borderline,Contemporary Art Exhibition, International Troia Festival, Canakkale.
2007 My Land, My Body, Orient Express Season, Arcola Theatre, London.
2007 DNA / Traces, Personal Exhibition, The Eaved House Cultural Center, Nicosia
2006 Artist Tuyap 16th Istanbul Art Fair, Karsi Art Gallery, Istanbul.
2006 DNA, Personal Exhibition, E.K.A.V. Art Gallery, Istanbul.
2006 Golyazi Residency Project, Bursa.
2005 Ceracarnassos Ceramics Exhibition, Bodrum.
2005 The Escapist, Taksim Metro Escape Tunnel ,Istanbul.
2004 Artist Tuyap 14th Istanbul Art Fair, Cooperative Group, Istanbul.
2004 Respect of Nature, International Association of Plastic Arts , Ataturk Cultural Center, Istanbul.
2003 International Association of Plastic Arts, Photograph Exhibition- Istanbul
2003 Cooperative group exhibition, Karga Art Gallery, Istanbul
2000 Exhibition of “Hope for Kosova”, Cemal Resit Rey Concert Hall, Istanbul
1997 Canakkale Seramik, Artistic Ceramic Tile Design Competition Exhibition, Canakkale.
Tracking the subject over the relationship between the subject and the body, each subject of compatibility simultaneously exists with its own matter (subject) whereas the discordant is mythified.
The historical body is the genetic coding of this tension ever since the ancient societies. The body bears their marks.
The beast-man character which Pınar Yeşilada defines over ‘’four leggedness’’ and exhibits with the name DNA, is the hereditary tracking of this conflict on the subject and the body.
The work exposes the animalistic nature of the conflict. The artist, who sets forth both to ask and challenge this question, deciphers the bestiality encoded in our tissues.
In this state of humanity, at the point when violence and paying for its price turns into paying with our bodies, namely at the point when the violence becomes unbearable, the social reflex is to ‘’forget’’.
( From the text by Feyyaz Yaman about Pinar Yeşilada’s exhibition named ‘Nisyan’, May 2010)
In her exhibition titled “DNA”, Yeşilada acts as a mirror of the weird and dark aspects of the world we live in through her works made of ceramic and bronze and shows us how genetic errors and external factors deform our lives.
The fact that human beings can not view a disaster or devastation as their own disasters unless these have happened directly to themselves and the fact that they can not see their devastation in the devastation of others may be a result of humankind’s point of view regarding things not having been able to have released itself from the pressures of self centered conditionings. In order to examplify this state of humankind, it has been pointed out that people always think of death as the death of others, don’t see themselves as finite beings and that their relationship with life is fundamentally based on avoiding it. Isn’t Socrates’ statement that “Philosophy is a rehersal for death” a statement of the philosophy of life manifesting itself against this avoidance, established by the organic conditioning with life.
The fact that Yeşilada’s figures, which recall a devastation in the appearance of humankind, evokes feelings of freedom and vitality despite everything, seems to convey the secret meaning of the ancient words: “Be of the world so that your soul may conquer. The approach here is a positive one as well as an approach that doesn’t see devastation only in others and far away from itself but the approach adopted in the face of life by the sensitivity that sees the frailty in itself as well as the others. Pınar’s works brings us face to face with that sensitivity.
( From the text by Feyyaz Yaman about Pinar Yeşilada’s exhibition named DNA/Traces, April 2007)