Patrick Flores

“[I] reject[ed] the idea that painting is autonomous, contained only within its four corners. I realized that painting has to interact with, and is always affected by, the space it is in.” — Jinny Yu JINNY YU: AT ONCE surveys artist Jinny Yu’s last decade of production, from her exhibition at the Venice Biennale Don’t They Ever Stop Migrating? to Inextricably Ours, her recent kaleidoscopically abstract paintings. Using methods as diverse as abstract painting and large-scale installation, Yu’s art ponders the implications of mass migration and rapid social change in contemporary society. In Perpetual Guest, Yu interrogates her status as a settler-immigrant; in Hôte, she navigates the relationship between guest and host through a series of black-and-white abstract drawings that resemble thresholds; in Inextricably Ours, Yu breaks from her previous work, using vivid colours, transparency, and distorted forms to continue to question what it means to be a guest and a host. Jinny Yu’s work explores the role of painting as a means of trying to understand the world around us. Born in Seoul, Yu now lives and works in Ottawa on the traditional unceded territory of the Anishinaabe Algonquin Nation, and in Berlin. Yu’s work has been shown widely in exhibitions in Canada, Germany, Italy, Japan, Portugal, South Korea, the UK, and the US. Her exhibition, Don’t They Ever Stop Migrating?, was presented at the 56th Venice Biennale.«J'ai rejeté l'idée que la peinture est autonome, c’est à dire qu’elle soit contenue uniquement dans ses quatre coins. J'ai réalisé que la peinture doit interagir avec et est toujours influencée par l'espace dans lequel elle se trouve.» — Jinny Yu JINNY YU : À LA FOIS explore la dernière décennie de la production de l'artiste Jinny Yu, depuis son exposition à la Biennale de Venise intitulée Don't They Ever Stop Migrating? jusqu’à Inextricably Ours, ses récentes peintures kaléidoscopiques abstraites. Utilisant des méthodes aussi diverses que la peinture abstraite et l'installation à grande échelle, l'art de Yu réfléchit aux implications de la migration de masse et aux changements sociaux rapides dans la société contemporaine. Dans Perpetual Guest, Yu interroge son statut en tant que colon-immigrant ; dans Hôte, elle explore la relation entre l'invité (guest) et l'hôte (host) à travers une série de dessins abstraits en noir et blanc évoquant des seuils ; dans Inextricably Ours, Yu rompt avec son œuvre précédente en utilisant des couleurs vives, la transparence et des formes distordues pour poursuivre son questionnement sur le sens des notions d'invité et d'hôte. Le travail de Jinny Yu émane d'une interrogation sur le médium de la peinture comme moyen de comprendre le monde qui nous entoure. Née à Séoul, Yu vit et travaille maintenant à Ottawa, sur le territoire traditionnel non cédé de la Nation Anishinabe Algonquine, et à Berlin. Les œuvres de Yu ont été largement exposées au Canada, en Allemagne, en Italie, au Japon, au Portugal, en Corée du Sud, au Royaume-Uni et aux États-Unis. Son exposition, Don't They Ever Stop Migrating?, a été présentée à la 56e Biennale de Venise.

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