Exhibition
YÉANZI
April 23 – May 30, 2026
Geneva
Interlude: Focus on Yéanzi
You don’t look at these works.
You encounter them.
Figures emerge from the surface fragmented, unstable, almost dissolving. Built from melted plastic, each mark holds a tension: between control and accident, presence and disappearance.
What you see is not painted. It is formed. Layered. Burned into the surface. Drop by drop, the material gathers, scars, resists. The image is never fixed it vibrates, refuses to settle.
In this Focus On, Tribe Gallery presents a tightly curated selection of previously unseen works.
Pieces that do not illustrate a practice, but capture it in motion.
Faces appear, then fade into the background. Bodies merge with surrounding forms. The boundary between figure and environment collapses. What remains is a constant negotiation between the individual and the collective, visibility and erasure.
These works mark a moment of transition.
A point where the language expands, where the material begins to take on new densities, new rhythms.
More than an exhibition, this is a state of tension.
A suspended moment before something shifts.
Central to his research is a distinctive process involving melted plastic, which he heats, fuses, and reconfigures into stratified surfaces where density, tension, and luminosity interact. This manipulation of an industrial and ubiquitous material constitutes not only a formal strategy but the conceptual core of his work. Through cycles of fusion, distortion, and reconstruction, Yéanzi engages with the unstable conditions of contemporary existence and the ways in which matter can carry the traces of collective experience.
At the same time, the use of plastic introduces a decisive ecological dimension. By transforming a material associated with excess, permanence, and environmental crisis, Yéanzi repositions matter as a site of reflection on responsibility, resilience, and potential regeneration. His practice thus operates at the intersection of material research, social inquiry, and environmental consciousness.
Recurring throughout his work are questions of collectivity, understood both as support and as burden, longside the complex dynamics of human relationships shaped by social expectation, constraint, and inherited structures. His surfaces evoke bodies in proximity, zones of pressure, and systems of tension where individuality negotiates with the weight of the group.
Over time, his work has expanded in scale, conceptual depth, and spatial ambition, affirming a trajectory marked by consistency, long-term commitment, and growing institutional recognition. His participation in international residencies, notably at Montresso Art Foundation, as well as the presence of his works in prestigious private collections such as CBH and exhibitions within major public institutions, including the Mohammed VI Museum of Modern and Contemporary Art in Morocco, attest to the increasing resonance of his practice within the contemporary art landscape.
This evolving trajectory situates Yéanzi’s work within a broader discourse on materiality, ecology, and the politics of visibility, allowing it to resonate equally within institutional frameworks and discerning private collections.
A major exhibition with TRIBE Gallery is scheduled for later this year.
In the meantime, a selection of capsule series is currently available, offering a focused and intimate entry point into the artist’s evolving body of work.
