Pinar Yolacan

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Nudes/Corpo Mecânico, 2012-2014
© Pinar Yolaçan / ARS, courtesy Wetterling Gallery
© Pinar Yolaçan / ARS, courtesy Wetterling Gallery
© Pinar Yolaçan / ARS, courtesy Wetterling Gallery
© Pinar Yolaçan / ARS, courtesy Wetterling Gallery
© Pinar Yolaçan / ARS, courtesy Wetterling Gallery
© Pinar Yolaçan / ARS, courtesy Wetterling Gallery
© Pinar Yolaçan / ARS, courtesy Wetterling Gallery
© Pinar Yolaçan / ARS, courtesy Wetterling Gallery
© Pinar Yolaçan / ARS, courtesy Wetterling Gallery
© Pinar Yolaçan / ARS, courtesy Wetterling Gallery
© Pinar Yolaçan / ARS, courtesy Wetterling Gallery
© Pinar Yolaçan / ARS, courtesy Wetterling Gallery
© Pinar Yolaçan / ARS, courtesy Wetterling Gallery
© Pinar Yolaçan / ARS, courtesy Wetterling Gallery
© Pinar Yolaçan / ARS, courtesy Wetterling Gallery
Nudes / Corpo Mecânico, Wetterling Gallery, 2015, Installation shoots
Photo Jean-Baptiste Béranger
Photo Jean-Baptiste Béranger
Photo Jean-Baptiste Béranger
Photo Jean-Baptiste Béranger
Photo Jean-Baptiste Béranger
Photo Jean-Baptiste Béranger
Photo Jean-Baptiste Béranger
Photo Jean-Baptiste Béranger
Photo Jean-Baptiste Béranger
Photo Jean-Baptiste Béranger
Photo Jean-Baptiste Béranger
Photo Jean-Baptiste Béranger
Representation and the Body, 2012
C-print. © Pinar Yolaçan / ARS, courtesy Wetterling Gallery
C-print. © Pinar Yolaçan / ARS, courtesy Wetterling Gallery
C-print. © Pinar Yolaçan / ARS, courtesy Wetterling Gallery
C-print. © Pinar Yolaçan / ARS, courtesy Wetterling Gallery
C-print. © Pinar Yolaçan / ARS, courtesy Wetterling Gallery
C-print. © Pinar Yolaçan / ARS, courtesy Wetterling Gallery
2007-2009
C-print. © Pinar Yolaçan / ARS, courtesy Wetterling Gallery
C-print. © Pinar Yolaçan / ARS, courtesy Wetterling Gallery
Digital C-print. © Pinar Yolaçan / ARS, courtesy Wetterling Gallery

Pinar Yolacan

With her elaborately staged photographs of women in their various cultures, Pinar Yolacan approaches a whole range of issues that refers to art history. Beauty, history, fashion, the female body, religion, colonialism, cultural heritage and the recurrent subject of death get examined in a new light through her camera.

Local culture and circumstances are the fundamental elements in Pinar Yolacans meetings with people and add a social and communicative aspect to her work. She takes on the role as an observer who examines historical, traditional and aesthetic contexts. In her photographic series the textiles are given an expanded role as a cultural fabric surrounding our identities. By covering the entire body and their faces the women remain anonymous and turn into sculptures, they become an abstract image of “the woman” putting questions about her role as the bearer of life and the ideal of beauty. Again, the textiles are directly linked to the motifs as the overalls take up the colour and structure of the material of the antique figurines.

Pinar Yolacan was born in Ankara, Turkey, 1981, and studied art and fashion design in London (Central Saint Martins College of Art and Design and Chelsea School of Art and Design) and New York (Cooper Union School of Art). Her work has attracted extensive attention internationally and has exhibited in the United States, Europe, South Africa and Turkey. She is represented in The Saatchi Collection (London), The J. Paul Getty Museum (Los Angeles), Kiasma (Helsinki) and the International Center of Photography (New York).