Artist Statement

My photographic work explores the role objects play in forming personal histories. I consider objects both found and and created, as vessels of memory. I use these in an almost subconscious way in staged narratives that are recorded by the camera. 

BIO

Christy Winegarden is a photographer who lives and works in Southwestern Ontario. She received a degree in Social Work before returning to an interest in photography in her 30's. She then studied photography at Sheridan College, Conestoga College as well as the Ontario College of Art and Design. In 2017, Winegarden began a mentorship with Jennifer Thoreson to further develop the conceptual aspect of her photography. Her work has been presented in Group Exhibitions such as Salon 14, The Propeller Art Gallery, Toronto 2020 Group Exhibition, Scotiabank Contact Photography Festival 2019, N/gage, the Parkview Gallery CAPIC Xpose 2019 curated exhibition in Etobicoke, Scotiabank Contact Photography Festival 2019 at the Papermill Gallery at Todmorden Mills Heritage Site, Toronto, Ontariothe CAPIC XPOSE Juried competition 2019and the 2019 Contemporary Art Committee and Museum 12th Annual Contemporary Art Exhibition in Kirkland Lake. 'Golden Reflections'. Museum of Northern History, Sir Harry Oakes Chateau.

She is a member of the Art District Gallery of Waterloo.  


Training and Experience


Ontario College of Art and Design 

-The Business of Fashion Photography, 2017


Sheridan College

-The Modern Portrait, fall 2016


Conestoga College

-Commercial Studio 2016

-Digital Imaging part 2 2015

-Digital Imaging part 1 2015

-Advanced Photography 2014

-Fundamentals of Photography 2014


- Fine Art Photography Mentorship with Jennifer Thoreson, Fine Art Photographer Jan. 2018 to May 2018. 




Press Release


Salvage

"the sea hath bounds but deep desire hath none

William Shakespeare in Venus and Adonis. 

In Salvage, Christy Winegarden uses photography to document her attempts to have one last conversation with her father. Winegarden puts messages on letters,faxes and objects to communicate beyond the grave. Using both images of submersion and from sonar, she considers water as a possible medium for connection.

Winegarden sees human longing at the heart of communication but believes that it cannot be confused with love itself. It is only in person that we can truly reveal ourselves to each other, despite our attempts to do so through technology.  Her father’s collection of slides from his travels and sonar devices like those he used as fish finders were employed as starting points to depict these ideas.

In Salvage,  Winegarden considers water as the subconscious to create staged narratives.Objects, both found and created, are considered vessels of memory in these images. Mixing all of these elements she suggests a world where the boundaries between life and death are blurred. These photographs are her attempt to actualize emotions that might have been suppressed by the niceties fabricated in places like obituaries.

Winegarden envelops her own children in her father’s story to create a narrative about family for them. In her thinking about this series, the conscious is too literal-minded. Objects used in these dreamscapes create symbols of constructed memory. In Salvage, Christy Winegarden invites the viewer to reach deep into their own family history and consciously transform their own memories.

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