Kıbrıs asıllı Yeşilada,1973 yılında İstanbul’da doğdu. 1992 – 1996 yılları arası İstanbul Mimar Sinan Üniversitesi Güzel Sanatlar Fakültesinde eğitim gördü.
Başlangıçta malzeme olarak çamur kullanan sanatçı, daha sonra farklı malzeme arayışıyla bronz ve polyester malzeme uzerinde yoğunlaştı.
Heykel ve fotoğraf çalışmalarında toplumsal hafıza, kolektif bilinçaltı ve şiddetin toplumlar uzerindeki uzun vadeli etkisinin izini süren Yeşilada,2016 yılından beri Fransa’nın Rhone Alpes bölgesinde yaşıyor.
2023 The Cage/Kafes, Rüstem Kitabevi, Nicosia, Kıbrıs.
2022 The Cage, Sevil Dolmacı Art Gallery, Istanbul.
2014 L’oubli, personel exhibition, Geneva.
2010 Nisyan, Personal Exhibition, Gallery Kent, Istanbul.
2007 DNA/İzler, Personal Exhibition,Saçaklı Ev Kültür Merkezi, Lefkoşa, Kıbrıs.
2006 DNA, , Ekav Art Gallery, Istanbul.
Seçilmiş Grup Sergileri
2023 Ortadan Başlamak, Artistanbul Feshane, Istanbul.
2017 Artankara Çağdaş Sanat Fuarı, Sevil Dolmacı Art Gallery, Ankara.
2015 -2016 Asfalt Art Gallery,Artist Tüyap Sanat Fuarı, Istanbul.
2013 Artist Tüyap Sanat Fuarı, Karşı Sanat Çalışmaları, Istanbul.
2013 Alashia, Grup Sergisi, Rauf Denktaş Kültür Merkezi, Kıbrıs.
2012 Artbosphorus Çagdaş Sanat Fuarı, Heykel Bahçesi, Istanbul.
2012 Immagina Arte in Fiera, Reggioemilia, Italy.
2011 Istanbul Yaz Sergisi, Antrepo 5 Sanat Limanı, Istanbul.
2011 Artbosphorus Çağdas Sanat Fuarı, Galeri Kent, Istanbul
2010 Contemporary Istanbul Sanat Fuarı, Alta Fine Arts Gallery, Istanbul.
2009 Artist Tüyap Sanat Fuarı, Karşı Sanat Çalışmaları, Istanbul.
2008 Multiple Connection, Grup Sergisi, Pogmahon Gallery, Viyana.
2007 My Land, My Body, Orient Express Season, Arcola Theatre, Londra.
2005 Ceracarnassos seramik sergisi, Bodrum.
2004 Kaçak, UIA Kongre Vadisi, Metro tahliye tüneli, Istanbul.
2004 Artist Sanat Fuarı, Kooperatif grup sergisi, Istanbul.
2004 Doğaya Saygı, UPSD grup sergisi, Atatürk Kültür Merkezi, Istanbul.
2003 Kooperatif, Kargart, Istanbul.
İşler / Projeler
Memory, Polyester, 2021editor
Self, Bronze-Aliminium, 2020editor
Defence 1, Bronze, 2018editor
Sometimes You Fall, Polyester, 2014editor
The Load, 2014, Polyestereditor
The Wound, Painted Bronze 2013editor
Absence, 2012, Polyestereditor
Absence, Polyester, 2012-2editor
Absence, Polyester, Salt, 2012editor
The Watcher, Polyester, 2011editor
Nisyan 2010 Painted Bronzeditor
Nisyan, Polyester, 2010editor
The Fall, Polyester, 2010editor
The Fall Series, Transparent Polyester, 2010editor
DNA, Ceramics, 2006editor
Cocoon, Ceramics, 1996editor
8 Unidentical Copies , 2023
The Cage - 2022
Oblivion - 2010
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
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)