97:. Hayeur's works are inspired by a critical analysis of ecology and urbanity. Since the late 1990s, Hayeur has created public art commissions, photography books, video installations, and has participated in many solo and group exhibitions. Her artworks can be found in both national and international collections, including those of the National Gallery of Canada, the Vancouver Art Gallery, the Art Gallery of Ontario, the Art Gallery of Alberta (Edmonton), the Musée d’art contemporain de Montréal, the New Orleans Museum of Art and the Museum of Contemporary Photography in Chicago, and the Fonds national d’art contemporain in Paris.
286:. Hayeur expresses worries about the ways humans have inhabited natural territories. She often refers to work in construction, road building, drilling, and archaeology, in her artworks. She critiques these industrialized spaces by blending different sites into a single territory. This draws attention to the dehumanized state of these spaces. Hayeur's documentary style photography (normally associated with realism) to create these fictive images further emphasizes industrialization's dehumanization.
298:. Here, Hayeur and her contemporaries presented works that show the coexistence of rural and urban, natural and manufactured, protection and exploitation, conservation and destruction, nostalgia and futuristic vision, to challenge the notion that modernity equals progress. Hayeur's contribution was footage from her 2012 video, Losing Ground. Hayeur's video evokes themes of Ecotopia as it shows a blend of industrial architecture amongst environmental decay and erosion.
140:, Hayeur creates images with photographs of houses from both quaint suburban dwellings and prefabricated model homes. As opposed to the modest, more dated, homes, the model homes all look similar due to "cookie cutter" architectural elements. Steepled roofs, bay windows, and double car garages, stand out as formal characteristics of
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disk players and multiple video projectors, Hayeur loops a 15-minute video of a fire onto the windows of the building. This installation being in
Vancouver's oldest and most run-down neighbourhood is purposeful. The work comments on the neglect of the area as its residence struggle with homelessness,
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building. The fanciful character of these model homes are exemplary of society's use of repetition and familiarity in construction as a means of creating a new, urban, identity. Using photo manipulation, Hayeur places these homes in different environments to give them new contexts. These new contexts
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in
Montreal, where she lived into her early 20s. During these years, Hayeur experienced feelings of alienation and dislocation that she believes to accompany suburban living. Hayeur's suburban upbringing is highly influential to her works, where she frequently confronts the issue of land exploitation
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process in a contemporary visual arts practice. Hayeur was the test subject and data on her creative processes was collected through multiple 30-60 minute interviews and site visits to her workspace. The study revealed that within the creative realm, the cognition of a professional artist is on part
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One of the main themes in Hayeur's work is urban sprawl. Urban sprawl refers to the environmental consequences of the uncontrolled building of homes and commercial buildings over large territories. Hayeur highlights the irony between persistent urbanization and the accompanying disappearance of
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to capture expansive landscapes. Hayeur's panoramic photographs are digitally manipulated as she retouches the landscapes by adding fragments of other images taken from environments in various locations. With these additions, Hayeur's images reveal conditions of the environment that unaltered
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is to show model homes in unaltered environments, providing x-ray like visions of the geological foundations they sit upon. By using digital manipulation to merge these man made habitats with their natural origins, Hayeur shows the coexistence of spaces that appear disconnected.
152:, Hayeur places ground-level views of generic suburban homes in construction sites. By photographing construction sites at ground-level, Hayeur records the erasure of the land by capturing the rich topsoil being removed to create barren grounds ready for development. The goal of
173:(Staten Island). The photographs reveal "aquatic deserts," which Hayeur attributes to a lack of oxygen caused by pollution in these areas. In her photographs, Hayeur captures the unconventional beauty of these lifeless waters as they become animated in the wavering sunlight.
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she captures photographs of aquatic ecosystems. The images are taken either fully underwater or, partially underwater, as to show the aquatic ecosystem's relationship to the environment above. In this project, Hayeur photographs the waterways near New Jersey's
977:"Ecotopia : Group Exhibition, Kitchener Waterloo Art Gallery, Kitchener, Canada - toured to Southern Alberta Art Gallery, Lethbridge, Canada (2013), Nickle Galleries, Calgary (2013), Kenderdine Art Gallery, Saskatchewan, Canada (2014)"
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Hayeur criticizes capitalism in her photographs and exhibitions. She denounces society's consumerist mindset with the extreme accumulation of goods and money as well as the giant infrastructure projects that destroy the environment.
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Hayeur primarily works in digital imaging. She is known for her large scale environment-based photomontages. Hayeur uses photo manipulation to create new artificial landscapes. In Her 2004–2007 photo series
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things. Particularly interested in the flaws of housing in modern society, Hayeur examines how the rapid erection of disposable homes causes the environmental needs of various lands to be neglected.
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Ecotopia is derived from the subgenre
Ecotopian fiction. Ecotopian fiction is derived from the synthesis of utopian and dystopian worlds. In 2012, Hayeur participated in a group exhibition called
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242:(ou Les séjours sous terre) is a photographic work in the international quarter of Montreal. It was integrated into the pedestrian path where it remained from 2005 to 2006.
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Arts, School of
Creative; Social Sciences, Arts & Humanities Research Institute; Design, Art and; Practice, Research into; Marsh, Lynne-Marie (2012-09-08).
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and Mary Kunuk. These three
Canadian artists manipulated the idea of landscape through their works in this exhibition via still photography, video, and cinema.
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1175:"Thérèse St-Gelais (dir.), Loin des yeux près du corps. Entre théorie et création, Montréal, Galerie de l'UQAM/ Les éditions du remue-ménage, 2012, 182 p."
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In 2004, Hayeur was a part of a 10-month field study conducted by Jude
Leclerc and Frederic Gosselin, researchers in the Department of Psychology at the
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are described as being both no place and everyplace, referencing how seemingly rural
Canadian communities have become prime venues for suburban sprawl.
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208:, Hayeur uses time lapse videography to capture recently man-made territories, confronting viewers with footage of their own depleting environment.
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1215:"MĂ©moire du paysage : Nature et culture chez Isabelle Hayeur / Isabelle Hayeur, Paysages incertains, Le Mois de la photo, automne 2001"
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Hayeur's photo manipulations are described as a parody of objective documentary photography. To create these images, Hayeur uses
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109:, Canada, in 1969. Hayeur obtained a Bachelor of Fine Arts degree in 1997 and a Master of Fine Arts degree in 2002, both from the
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is a critique of urban sprawl, drawing attention to the erosion and homogenization of the countryside that results from it. In
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a photo triptych. It was installed at the cultural community centre of Montréal-Nord in 2005 where it remained for one year.
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Les instants détournés, Praxis art actuel, 1998 (Saint-Thérèse, Canada) Dérives, Séquence, 1999 (Chicoutimi, Canada)
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Hayeur collaborated with a plethora of artists and curators throughout her career. At the VOX Gallery's show
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Hayeur utilizes underwater cameras in her digital imaging practice. In her 2008–2013 photo series
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113:. She has lived and worked in Montreal for most of her life. Hayeur was raised in the suburb of
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Hayeur integrates her environmental-critique works into the environment itself by creating
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Somewhere, Platform Centre for
Photographic & Digital Arts, 2004 (Winnipeg, Canada)
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Les instants détournés, Action Art Actuel, 1997 (Saint-Jean sur le
Richelieu, Canada)
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Hayeur simulates a fire in a four-storey heritage building located in
Vancouver's
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Les instants détournés, Galerie L’oeuvre de l’autre, 1998 (Chicoutimi, Canada)
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Milutin Gubash & Isabelle Hayeur, Paved Arts, 2004 (Saskatoon, Canada)
948:"Isabelle Hayeur, Paysages incertains - Suzanne Paquet, Quelques fĂŞlures"
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Galerie Thérèse Dion. Quarternaire. Montreal: Galerie Thérèse Dion, 2007.
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The Museum of Contemporary Photography in Chicago (MoCP) (United States)
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1125:"Isabelle Hayeur | Collection Musée national des beaux-arts du Québec"
93:(born 1969) is a Canadian visual artist known for her photographs and
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Spill No. 3: Paysages incertains, Artspeak, 2004 (Vancouver, Canada)
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Beyond digital imagery and video, Hayeur has been known to work in
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Chantiers, Centre des arts Visuels Skol, 2001 (Montreal, Canada)
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Photographies récentes, Galerie Sans-Nom, 1996 (Moncton, Canada)
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Isabelle Hayeur – Dépayser. Du 3 juin 2017 au 17 septembre 2017
122:, located on the Ouareau River in southwestern Quebec, Canada.
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Paysages incertains, Galerie Verticale, 2001 (Laval, Canada)
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Beyond Gardens, Pari Nadimi Gallery, 2000 (Toronto, Canada)
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The Casino Luxembourg forum d'art contemporain (Luxembourg)
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Paysages incertains, L’Écart, Rouyn-Noranda, 2000 (Canada)
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The Prefix Institute of Contemporary Art (Toronto, Canada)
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Emerging Landscapes Between Production and Representation
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Hayeur is also known for her works in experimental film.
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The Duke and Duchess of York Prize in Photography (2019)
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Destinations, Pari Nadmi Gallery, 2004 (Toronto, Canada)
260:. Currently, none of these works exist publicly online.
1050:"24th Annual Meeting of the Cognitive Science Society"
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The Southern Alberta Art Gallery (Lethbridge, Canada)
319:. Leclerc and Gosselin examined the under-researched
462:Prix du Conseil des arts et des lettres du Québec,
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The Agnes Etherington Art Center (Kingston, Canada)
118:in urban planning. Hayeur currently resides in the
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890:"Isabelle Hayeur. Un trouble moteur d'attention"
438:Quaternaire, Galérie Thérèse Dion, 2007 (Canada)
417:Drift, Eye Level Gallery, 2001 (Halifax, Canada)
371:The Neuer Berliner Kuntsverein (Berlin, Germany)
423:Quelque part, L’Espace F, Matane, 2002 (Canada)
331:in 2004, Hayeur collaborated with the artists
223:In her 2010 site-specific video installation
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1219:Spirale: Arts • Lettres • Sciences Humaines
707:"Inhabiting: the works of Isabelle Hayeur"
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469:The Hnatyshyn Foundation mid-career award
464:Artiste de l'année dans Lanaudière (2022)
44:Université du Québec à Montréal (BA) (MA)
1090:"Critical Writing Index Article | Vtape"
377:The Oakville Galleries (Ontario, Canada)
360:Massachusetts Museum of Contemporary Art
236:drug abuse, prostitution, and violence.
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457:Contact For emerging photography artist
354:Musée national des beaux-arts du Québec
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348:Musée d'art contemporain de Montréal
324:with the cognition of a scientist.
810:"Isabelle Hayeur – Loop Barcelona"
148:In her 2005–2007 photo exhibition
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894:Marie Perrault - art contemporain
344:Musée d'art de Joliette (Canada)
282:Much of Hayeur's work critiques
111:Université du Québec à Montréal
1150:"Isabelle Hayeur - biographie"
677:"Isabelle Hayeur: Model Homes"
220:in high traffic public areas.
1:
705:Bernard, Serg (August 2006).
558:"Isabelle Hayeur - BIOGRAPHY"
450:OFQJ, Champ Libre, Le Fresnoy
1262:Canadian women photographers
1213:Palmiéri, Christine (2001).
105:Isabelle Hayeur was born in
218:site-specific installations
212:Site-Specific Installations
32:1969 (age 54–55)
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1221:(in French) (180): 28–29.
1067:10.1207/s15516709cog2603_9
1015:. Ashgate Publishing Ltd.
1011:Shinkle, Eugenie. (2014).
321:cognitive problem solving
60:Environmental photography
101:Early life and education
1173:Bruneau, Julie (2014).
896:(in French). 2013-04-02
183:documentary photography
992:Cite journal requires
952:Magazine Ciel variable
317:University of Montreal
16:Canadian visual artist
1178:Recherches FĂ©ministes
1129:collections.mnbaq.org
790:"The Space of Making"
178:panoramic photography
176:Hayeur also works in
1060:(3): 391. May 2002.
1154:isabelle-hayeur.com
919:Art Public Montréal
120:Rawdon Municipality
814:loop-barcelona.com
714:Oakville Galleries
608:Isabelle, Hayeur.
562:www.scotiabank.com
525:www.art-agenda.com
1191:10.7202/1027926ar
1054:Cognitive Science
1022:978-1-4094-6705-2
589:"Isabelle Hayeur"
492:"Isabelle Hayeur"
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278:Industrialization
229:Downtown Eastside
126:Artistic practice
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66:Notable work
52:Photographer
1252:1969 births
1134:25 February
954:(in French)
834:"Filmessay"
739:www.saag.ca
651:(in French)
496:FilmFreeway
154:Excavations
150:Excavations
138:Model Homes
1246:Categories
1232:2019-02-26
1184:(2): 217.
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1099:2020-03-13
958:2020-03-16
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655:2020-03-14
594:2020-03-14
567:2020-03-14
530:2020-03-14
501:2020-03-14
479:References
333:Mark Lewis
302:Capitalism
192:software.
49:Occupation
1227:0225-9044
1200:0838-4479
1076:0364-0213
1031:911178914
329:Awakening
171:Rossville
41:Education
915:"Songes"
719:March 6,
622:13 March
610:"Resume"
356:(Canada)
350:(Canada)
296:Ecotopia
290:Ecotopia
107:Montreal
240:Sommeil
233:Blu-ray
169:and in
75:Website
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471:(2021)
459:(2001)
452:(2004)
443:Awards
264:Themes
246:Songes
70:
710:(PDF)
613:(PDF)
455:Prix
448:Prix
252:Other
196:Video
1223:ISSN
1196:ISSN
1136:2019
1072:ISSN
1027:OCLC
1017:ISBN
998:help
721:2020
624:2020
389:Les
82:.com
29:Born
1186:doi
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