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Jin-me Yoon

YoonThe subjects of each panel of the two individuals in Regard (the artist and her mother) are looking out from a Lawren Harris painting, Maligne Lake, Jasper Park (1924). Harris was part of the Group of Seven, a well known group of male painters working in and against European painting tradition and is important to Canadian art history. Simultaneously the subjects are also looking into an Emily Carr painting Old Time Coast Village (1929-30). Materially, these photographs framed by a stainless steel support rest upon a construction of wooden planks and saw horses which suggest urban mediatized environments as well as natural resources, forests and raw materials for building. Such metaphors of construction, identity, place and landscape have been built on the exploitation of land and colonization of First People.

In Canada, national values are deeply implicated in landscape painting, and the Harris and Carr works are potent symbolic representations of regional and national identity. Identity is relational and contingent upon re-working representations of the social body and the physical land. It is significant that the subjects are both women in relation to the perspectival aggression of the Harris painting (masculinity and the mountains) and the undulation of Carr’s verdant forests (femininity and the forest) which both speak of gender and sexuality, namely heterosexual stereotypes.


Jin-me Yoon was born in Seoul, South Korea, in 1960 and immigrated to Vancouver, Canada in 1968. Yoon’s photography and video work is recognized across Canada and internationally for contributing to ongoing discussions concerning identity and place in an accelerated globalized era. She teaches in the Visual Art Area of Simon Fraser University’s Contemporary Arts department in Vancouver, Canada. Her work has been exhibited widely in solo and group exhibitions in North America, Asia, Australia, and Europe

Further Information

DERKSEN, Jeff, Fugitive Spaces, Catriona Jeffries Gallery, 2004* artistid=14522

*Digitally reprinted with permission from Catriona Jeffries Gallery



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