Selected Works

 

Untunnelling Vision

Living Time (Photographs)

Living Time (Video)

Turn

Long View (Photographs)

Long View (Video)

Testing Ground

Other Hauntings (Song)

Other Hauntings (Dance)

This Time Being

Beneath

Rest

Ear to Ground, Watered Ground

As It Is Becoming (Beppu, Japan)

As It Is Becoming (Seoul, Korea)

The Dreaming Collective Knows No History

Fugitive (Unbidden)

(it is this/it is that)

Unbidden (channel)

Welcome Stranger Welcome Home

Touring Home From Away

between departure and arrival

Intersection

A Group of Sixty-Seven

Souvenirs of the Self

 


 

Untunnelling Vision  

2020, (Work in progress), photograph and video installation

 

Untunnelling Vision, 2020, (video still)
 

Untunnelling Vision, 2020, (video still)
 

Untunnelling Vision, 2020, (video still)
 

 


 

Living Time (Photographs)  

2019, Series of 6 diptychs, 71.44 x 76.52 x 3.81 cm each

 

Living Time, 2019, (installation view), 6 diptych inkjet prints over-matted with custom Western hemlock frame, 71.44 x 76.52 x 3.81 cm each, Musée d’art de Joliette, photo credit: Paul Litherland
 

Living Time, 2019, (installation detail), 1 of 6 diptych inkjet prints over-matted with custom Western hemlock frame, 71.44 x 76.52 x 3.81 cm each, Musée d’art de Joliette, photo credit: Paul Litherland
 

Living Time, 2019, Diptych #1
 

Living Time, 2019, Diptych #2
 

 


 

Living Time (Video)  

2019 Dual-channel video, 23:39 min

 

Jin-me Yoon, Living Time, 2019 (installation view), Musée d’art de Joliette, photo credit: Paul Litherland
 

Jin-me Yoon, Living Time, 2019 (video still)
 

Jin-me Yoon, Living Time, 2019 (video still)
 

Jin-me Yoon, Living Time, 2019 (video still)
 

 


 

Turn  

2019, Single-channel video, 10:04 min

 

Living Time, 2019, (installation view), photo credit: Lucien Lisabelle
 

Living Time, 2019, (video still)
 

Living Time, 2019, (video still)
 

Living Time, 2019, (video still)
 

Living Time, 2019, (video still)
 

 


 

Long View (Photographs)  

2017, Series of 6 photographs, 83.8 x 141 cm each

 

Long View, 2017, (installation view), 6 framed chromogenic prints, 83.8 x 141 cm each, Nanaimo Art Gallery, photo credit: Sean Fenzl
 

Long View #1, 2017
 

Long View #2, 2017
 

Long View #3, 2017
 

Long View #4, 2017
 

Long View #5, 2017
 

Long View #6, 2017
 

Long View, 2017, (postcard project), six perforated colour postcards, 10.1 X 15.2 cm each
 

 


 

Long View (Video)  

2017, Single-channel video, 10:04 min

 

Long View, 2017, (video still)
 

Long View, 2017, (installation view), Nanaimo Art Gallery, photo credit: Sean Fenzl
 

Long View, 2017, (video still)
 

Long View, 2017, (video still)
 

Long View, 2017, (video still)
 

Long View, 2017, (video still)
 

 


 

Testing Ground  

2019, single-channel video, 9:29 min

 

Testing Ground, 2019, (video still)
 

Testing Ground, 2019, (installation view), Musée d'art contemporain des Laurentides, photo credit: Lucien Lisabelle
 

Testing Ground, 2019, (video still)
 

Testing Ground, 2019, (video still)
 

Testing Ground, 2019, (video still)
 

 


 

Other Hauntings (Song)  

2016, Single-channel video, 7:20 min

 

Other Hauntings (Song), 2016 (installation view), Nanaimo Art Gallery, photo credit: Sean Fenzl
 

Other Hauntings (Song), 2016, (video still)
 

Other Hauntings (Song), 2016, (video still)
 

Other Hauntings (Song), 2016, (video still)
 

 


 

Other Hauntings (Dance)  

2016, Single-channel video, 8:14 min

 

Other Hauntings (Dance), 2016, (installation view), Nanaimo Art Gallery, photo credit: Sean Fenzl
 

Other Hauntings (Dance), 2016, (video still)
 

Other Hauntings (Dance), 2016, (video still)
 

Other Hauntings (Dance), 2016, (video still)
 

 


 

This Time Being  

2013, Series of 9 chromogenic prints, 45.72 x 55.88 cm, framed: 63.18 x 74.14 cm

 

This Time Being #1, 2013
 

This Time Being #2, 2013
 

This Time Being #3, 2013
 

This Time Being #4, 2013
 

This Time Being #5, 2013
 

This Time Being #6, 2013
 

This Time Being #7, 2013
 

This Time Being #8, 2013
 

This Time Being #9, 2013
 

 


 

Beneath  

2012, Multi-channel video installation

 

Beneath, 2012, (installation view), multi-channel video installation, wood, glass, mirrors, steel, and bricks, dimensions variable, video duration various: 42:36 min to 45:20, Vancouver Art Gallery
 

Beneath, 2012, (installation detail)
 

Beneath, 2012, (installation detail)
 

Beneath, 2012, (installation view)
 

Beneath, 2012, (installation detail)
 

 


 

Rest  

2012, Chromogenic print, 148.6 x 121.92 cm

 

Rest, 2012
 

 


 

Ear to Ground, Watered Ground  

2008, Dual-channel video

 

Ear to Ground, 2008, (video still)
 

Ear to Ground, 2008, (video still)
 

Ear to Ground, 2008, (video still)
 

Watered Ground, 2008 (video still)
 

 


 

As It Is Becoming (Beppu, Japan)  

2008, Multi-channel video installation

 

As It Is Becoming (Beppu, Japan): Former U.S. Army Base, 2008, (installation view), single channel video, 14:23, Catriona Jeffries Gallery
 

As It Is Becoming (Beppu, Japan): Former U.S. Army Base, 2008, (video still)
 

As It Is Becoming (Beppu, Japan): Former U.S. Army Base, 2008, (video still)
 

 


 

As It Is Becoming (Seoul, Korea)  

2008, Multi-channel video installation

 

As It Is Becoming (Seoul, Korea), 2008/2019, (installation view: Musée d'art contemporain des Laurentides), multi-channel video installation, dimensions variable, durations various: 2:12 to 5:57, photo credit: Lucien Lisabelle,
 

As It Is Becoming (Seoul, Korea), 2008, (video still)
 

As It Is Becoming (Seoul, Korea) (video still), 2008
 

As It Is Becoming (Seoul, Korea) (video still), 2008
 

 


 

The dreaming collective knows no history (US Embassy to Japanese Embassy, Seoul)  

2006, Single-channel video

 

The dreaming collective knows no history (US Embassy to Japanese Embassy, Seoul), 2006, (video still)
 

The dreaming collective knows no history (US Embassy to Japanese Embassy, Seoul), 2006, (video still)
 

The dreaming collective knows no history (US Embassy to Japanese Embassy, Seoul), 2006, (video still)
 

The dreaming collective knows no history (US Embassy to Japanese Embassy, Seoul), 2006, (video still)
 

The dreaming collective knows no history (US Embassy to Japanese Embassy, Seoul), 2006, (video still)
 

 


 

Fugitive (Unbidden)  

2004

 

Fugitive (Unbidden), 2004, (installation view, National Gallery of Canada)
 

Fugitive (Unbidden) #3, 2004, chromogenic print, 99.5 X 99.5 cm
 

Fugitive (Unbidden) #5, 2004, 1 of 3 in a series chromogenic print, 76.2 X 76.2 cm
 

 


 

(it is this/it is that)   

2004, Photograph Diptych, 74 x 126 cm each

 

(it is this/it is that), 2004/2018, (installation view), 2 chromogenic prints with overlam and acrylic surface mount, 74 x 126 cm each, photo credit: Rachel Topham
 

(it is this/it is that), 2004/2018, (detail view), 2 chromogenic prints with overlam and acrylic surface mount, 74 x 126 cm each, photo credit: Rachel Topham
 

 


 

Unbidden (Channel)  

2003, Single-channel video, 5:12

 

Unbidden (Channel), 2003, (installation view), photo credit: Lucien Lisabelle
 

Unbidden (Channel), 2003, (video still)
 

Unbidden (Channel), 2003, (video still)
 

 


 

Welcome Stranger Welcome Home  

2002, Single-channel video, 8:46 min

 

Welcome Stranger Welcome Home, 2002, (installation view)
 

Welcome Stranger Welcome Home, 2002, (video still)
 

Welcome Stranger Welcome Home, 2002, (video still)
 

Welcome Stranger Welcome Home, 2002, (video still)
 

 


 

Touring Home From Away  

1998, 9 diptychs, 81 x 66 x 13 cm each

 

Touring Home From Away, 1998, (installation view, Musée d’art de Joliette), nine black anodized, double-sided lightboxes, 18 Ilfochrome translucent prints with polyester overlam, 81 x 66 x 13 cm each, photo credit: Paul Litherland
 

Touring Home From Away, 1998, (detail), photo credit: Paul Litherland
 

Touring Home From Away, 1998, (verso detail), photo credit: Paul Litherland
 

Touring Home From Away, 1998, 1 of 9 diptychs (front)
 

Touring Home From Away, 1998, 1 of 9 diptychs (reverse)
 

 


 

between departure and arrival  

1997, Multi-channel video installation

 

between departure and arrival, 1997/2019, (installation view, Musée d’art de Joliette), photo credit: Paul Litherland
 

between departure and arrival, 1997/2019, (installation detail, Musée d’art de Joliette), photos credit: Paul Litherland
 

 


 

Intersection  

1997-, Ongoing photo and video series

 

Intersection 1, 1996, (installation view), transmounted C-prints, 98 x 141 cm each
 

Intersection 1, 1996, (detail left panel)
 

Intersection 1, 1996, (detail right panel)
 

Intersection 2, 1998, diptych, 144 x 109 cm each
 

Intersection 3, 2001, (detail left panel), two C-prints, 161 x 207 cm each
 

Intersection 3, 2001, (detail right panel)
 

Intersection 4, 2001, (installation view), three single channel video projections, dimensions variable
 

Intersection 4, 2001, (detail)
 

Intersection 4, 2001, (detail)
 

Intersection 5, 2001, (detail left panel), two C-prints, 161 x 207 cm each
 

Intersection 5, 2001, (detail right panel)
 

 


 

A Group of Sixty-Seven  

1996, two grids of 67 framed chromogenic prints, for a total of 135 C-prints, 47.5 x 60.5 cm each

 

A Group of Sixty-Seven, 1996/2018 (installation view, Museum of Vancouver), photo credit: Rachel Topham
 

A Group of Sixty-Seven, 1996/2018 (detail right grid, Museum of Vancouver), photo credit: Rachel Topham
 

A Group of Sixty-Seven, 1996/2018 (detail left grid, Museum of Vancouver), photo credit: Rachel Topham
 

A Group of Sixty-Seven, 1996 (detail)
 

A Group of Sixty-Seven, 1996 (detail)
 

 


 

Souvenirs of the Self  

1991, Series of 6 photographs

 

Souvenirs of the Self (postcard project), 1991, six perforated colour postcards, each 15.2 X 10.1 cm
 

Souvenirs of the Self, (Lake Louise), 1991/2019 (installation view, Musée d’art de Joliette), inkjet print on laminated polyester, 185.4 x 121.9 cm each, photo credit: Paul Litherland
 

Souvenirs of the Self, 1991/2019 (installation view, Musée d’art de Joliette), inkjet print on laminated polyester, 185.4 x 121.9 cm each, photo credit: Paul Litherland