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. 






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. In my recent work I have explored my relationship with my deceased father and enveloped my own children in the process. These dreamscapes are my attempt to explain their family history to them. 


Press Release


"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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