Yosman's work begins with a question that is never stated but always felt: what is real, and what is merely the shadow of the real?

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From his earliest installations to his most recent series, his practice operates as a system of fragments that only acquire their definitive form through illusion —much like Plato's cave, where truth is perceived as a projection rather than an object. This logic runs through everything he makes: from declassified CIA archives that resurface as ambiguous landscapes haunted by the nuclear specter, to ceramic drones that present themselves as simple domestic objects.

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Yosman does not represent the world: he intervenes in the invisible mechanisms that construct it. His raw material is the everyday —not as objective reality but as a malleable resource, one that can be fractured and reconfigured. The beautiful and the uncanny are not opposites in his work; they are the same gesture seen from different angles.