Published by Royal Canadian Academy of Arts, 2024. English and French texts by Robert Tombs, Steven Cottingham, Cheryl Sim, and Marina Roy; 132 pages, 27.9 × 19.6 cm (11 × 7.75 inches), softcover with nested signatures gathered with a black rubber band, offset. Design by Robert Tombs.

“ There is a surprising lack of dissonance between [Marina Roy’s Flog and Pelt which incorporates] a luxurious beaver coat and the red plastic gas can over which it is slumped. Professionally tailored and uniformly shorn with anachronistic elegance, the coat’s folds catch the light in the same way the cheap plastic does—a synthetic sheen that wards off light as much as it reflects it. … Flog and Pelt appears beside Yu’s Perpetual Guest 2019/2022 Impossibility of Repair (2023)—a similarly floor-bound installation comprising a shattered pane of glass painstakingly reassembled, a sheen of oil applied across its surfaces. Together, these charged arrangements draw from the surrounding landscape, indexing the sweeping changes wrought by extraction: the Canadian nation born from the fur trade, the Wyandot-Huron confederacy scattered, the climate rapidly altered by industrial exploitation, and the colonization of Indigenous territories intertwined with European profit and power.”

> Steven Cottingham in “At the Tail End of History,” Marina Roy, Jinny Yu & the Painted Object, 2024

“Destruction, which can be understood as dismembering, can allow for transformation through re-membering, if there is the courage to do so. The events of Yu’s life journey have informed her politicization and exploration of the complexities of the diasporic experience, the logical impasse of guest/host relations and the unresolvable notion of perpetual repair. These ongoing reflections have now prompted her to question and dispense of former self-imposed rules to allow for an exploration of new directions for her work. She is increasingly distancing herself from the idea of her paintings as self-portraits. She is embracing image and opening up her colour palette. After almost thirty years of art making, she is liberating herself. In doing so, she is giving herself the gift of perpetual transformation.”

> Cheryl Sim in “Perpetual Questions in the Art of Jinny Yu,” Marina Roy, Jinny Yu & the Painted Object, 2024

WINNER OF ART BOOK DESIGN AWARD, 48TH ANNUAL GALERIES ONTARIO GALLERIES AWARDS, 2025