He graduated from the Yale School of Art and has taught sculpture art in various institutions. Pinhassi explores the relationship between spatial and human interaction. His work thrives on interrogating the fluctuating boundaries of objects and humans forming a sensual landscape. He explores the politics of erotic spaces and the effect of space on the actions and interactions of human and non-human entities.
His installations have explored different spaces and enquire specific human moods and emotions linked to them. He has explored bathhouses as spaces of vulnerability and sensuality and natural hotspots as apertures of voyeuristic gaze and eroticism. The ambiguity of the sculptures provides an element of surprise as an object appears to be something for a moment and entirely different at another glace. This gap between familiarity and ambiguity is what the viewer retains from the sculptures and is forced to meditate on their relationship with the spaces they occupy.
These sculptures, all distinct from each other, converge at a point of ambiguity in perspective. They resemble the mortal elements like spindly legs, torsos, feet, breasts, eyes sockets, the outline of a face, etc. This transmutation frees the objects of any fixed identity or formation which then reinstates the blurring of boundaries between public and private. These more delicate and easily molding materials provide agency of erotic touch to the surface of sculptures.
Pinhassi has a unique process of creating his artworks, he does not ship his artwork from one place to another for exhibitions, rather creates sculptures familiar to the archetypes of the place.
This adds a layer of familiarity to the objects that occupy spaces in a particular city. Hence, the recreation of the same sculpture in a different city removes the duplicate production but rather provides unique originality to each sculpture.
