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In her newest works, Pinar Yolaçan collaborates with her models in theatrical and innovative ways. The resulting images of painted women, shown for the exhibition in diptychs and triptychs, possess the appearance of film stills from a movie that is simultaneously futuristic and ancient, revealing and cryptic, anonymously cast and universally recognized. Her woman are confident and open; they allow us to see them in the way that they see themselves. Bodies are isolated and framed not as fashionable posed objects for surface delectation but as invitations to study nothing less than what it means to be human and, more powerfully, female.

Doug McClemont