Pınar Yeşilada

Pınar Yeşilada

Artist

Rhône-Alpes, France

About

She was born in Istanbul in 1973 of Cypriot descent. 1992 – 1996 she studied at Mimar Sinan University, Fine Arts Faculty Istanbul.

Initially using clay as a material, she focused on bronze and polyester sculptures. Her sculptures and photography works are the conceptual search of social memory, collective unconscious, and human nature.
Since 1996 she has presented solo exhibitions and has participated in many collective exhibitions in various countries in Europe. Her Works are in numerous collections.
Since 2016 she lives in Rhone-Alpes, France.

Education

1992 – 1996 Mimar Sinan University, Fine Arts Faculty, Istanbul.

Personal Exhibitions

2022 The Cage, Sevil Dolmacı Art Gallery, Istanbul.
2014 L’oubli, personel exhibition, Geneva.
2010 Nisyan, Personal Exhibition, Gallery Kent, Istanbul.
2007 DNA/Traces, Personal Exhibition,The Eaved House Cultural Center, Nicosia.
2006 DNA, personal exhibition, Ekav Art Gallery, Istanbul.

Sellected Group Exhibitions:

2017 Artankara Contemporary Art Fair, Sevil Dolmacı Art Gallery, Ankara.
2015 -2016 Asfalt Art Gallery,Artist Tüyap Art Fair, Istanbul.
2013 Artist Tüyap Art Fair., Karşı Sanat Çalışmaları, Istanbul.
2013 Alashia, group exhibition, Rauf Denktaş Culturel Center, Cyprus.
2012 Artbosphorus Contemporary Art Fair, Sculpture Garden, Istanbul.
2012 Immagina Arte in Fiera, Reggioemilia, Italy.
2011 Istanbul Summer Exhibition, Antrepo 5 Art Port, Istanbul.
2011 Artbosphorus Contemporary Art Fair, Gallery Kent, Istanbul
2010 Contemporary Istanbul Art Fair, Alta Fine Arts Gallery, Istanbul.
2009 Artist Tüyap Art Fair, Karşı Sanat Çalışmaları, Istanbul.
2008 Multiple Connection, Group exhibition,Pogmahon Gallery, Vienna.
2007 My Land, My Body, Orient Express Season, Arcola Theatre, London
2005 Ceracarnassos Ceramics Exhibition, Bodrum.
2005 Kaçak, UIA Kongre Valley, Metro Escape Tunnel, Istanbul.
2004 Artist Tüyap Art Fair, Kooperatif group exhibition, Istanbul.
2004 Respect For The Nature, UPSD exhibition, Atatürk Cultural Center, Istanbul.
2003 Kooperatif, Kargart, Istanbul.

Works / Projects

Sculptures

Memory, Polester, 2021

Memory, Polyester, 2021

Defence, Bronze,2020

Defence, Bronze,2020

Self, Bronze- Aliminium, 2020

Self, Bronze-Aliminium, 2020

Defence 1, Bronze, 2018

Defence 1, Bronze, 2018

Golden, Bronze,2016

Golden, Bronze,2016

Sometimes You Fall, Polyester, 2014

Sometimes You Fall, Polyester, 2014

The Load, 2014, Polyester

The Load, 2014, Polyester

the wound , painted bronze 2013

The Wound, Painted Bronze 2013

Absence, 2012, Polyester

Absence, 2012, Polyester

Absence, Polyester, 2012-2

Absence, Polyester, 2012-2

Absence, Polyester, salt, 2012

Absence, Polyester, Salt, 2012

The Watcher, Polerter, 2011

The Watcher, Polyester, 2011

Nisyan 2010 Painted bronz

Nisyan 2010 Painted Bronz

Nisyan, Polyester, 2010

Nisyan, Polyester, 2010

The fall, Polyester, 2010

The Fall, Polyester, 2010

The Fall Serries, Transparent Polyester, 2010

The Fall Series, Transparent Polyester, 2010

DNA, Ceramics, 2006

DNA, Ceramics, 2006

Cocoon, Ceramics, 1996

Cocoon, Ceramics, 1996

Photographs

Cage2, C-Print, Diasec, 100x67cm

Cage2, C-Print, Diasec, 100x67cm

The Escapist, C-Print, Diasec,150x100cm

The Escapist, C-Print, Diasec,150x100cm

Mirage, C-Print,Diasec, 58x110cm

Mirage, C-Print,Diasec, 58x110cm

Exhibitions

The Cage - 2022

Oblivion - 2010

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 incompatible is mythified. The historical body is the genetic coding of this tension ever since ancient societies. The body bears its traces.
The human animal character which Pınar Yeşilada defines as ‘’quadrupedality’’
and exhibits with the name Nisyan/Oblivion 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 skin. 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)

DNA - 2007

In her exhibition titled “DNA", Yeşilada acts as a mirror of the weird and dark aspects of our world through exhausting images of ceramics and bronze, showing how genetic errors and external factors deform our lives.
Human’s inability to look at the disaster, the wreckage as his own unless it happens directly to himself,
His inability to see his destruction in Man’s destruction may be the result of his vision not yet sufficiently freed from the gaze of the egocentric conditionings of his organism. Regarding this situation,
it has been pointed out that man always knows death as the death of others, does not see himself as a finite being, and his relationship with life is based on an escape behavior from death itself.
And isn’t Socrates’ statement that “Philosophy is a rehearsal for death” also a manifestation of a philosophy of life against this escape from organic conditioning with life?
Yeşilada’s figures recalling a defeat and wreckage in human form, evoking a sense of freedom and vitality in people despite everything, seems to explain the hidden meaning of the old saying “Be of the world so that your soul may conquer’’.
The attitude here is the attitude of sensitivity towards life, which does not see death and destruction only in others, but finds and knows the fragility in herself and others.
Pınar’s works confront us with that sensitivity once more.

( From the text by Feyyaz Yaman about Pinar Yeşilada’s exhibition named DNA/Traces, April 2007)

Press

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