Previous Winners

2014 CSCE Art Competition Winner: Corey J. Isenor

Rock Pile, 26” x 26”, 2012, B&W Photograph

Corey Isenor originally hails from Enfield, Nova Scotia. He completed his BFA in 2010 graduating from Mount Allison University. Isenor is a photographer, printmaker, archivist, sculptor, graphic designer and musician; he not only dabbles in a variety of media, he is fluent and articulate.  See his visual work here.

Isenor has released 4 full length albums to date and will be playing various festivals this summer. Listen here
 
As a graphic designer, his posters can be seen all over the East Coast and beyond. Take a look here.
 
Isenor’s current work concentrates on the medium of photography, investigating the relationship between the natural environment and human beings influence on it. Interested in the growing separation between contemporary western culture and our connections with the natural world, Isenor explores the philosophical, spiritual or personal sides of this relationship by offering us a space to reflect and contemplate.
 
”I find the imagery in Rock Pile communicates a strong feeling of desire, or more so a collection. I see the mass as being viewed as a valued object, a craving we as humans have to acquire and hoard items that would otherwise be useless. The pile of course is made up of rocks intended for use in landscaping, which then presents the viewer with ideas surrounding man’s obsession with dominating nature and our desire to control the scenery around us by sculpting and moulding the land. ”

 

2013 CSCE Art Competition Winner: Bronwen Moen 

The Broken Fence

Originally from British Columbia, Bronwen moved to Montreal in 2006 where she has recently completed her Masters of Fine Arts at Concordia University. Her work in paint, drawing, and performance focuses on the permeability of bodies and environments. Her research centres around kinesthetic sensation as a way of translating her phenomenological description of environments and social collaboration.  She explores alternative methods of research such as authentic movement, interview processes, documentary drawing and written reflections of muscle memory experiences.

Her work extends collaboratively including projects such as: Remembering Bagua, a socio-environmental documentary film; the Annex Z Gallery Project, a community space show-casing art and research surrounding sustainability and more recently Ville Invisible, a performance experience of the Montreal city landscape for a blindfolded audience.

“In brief this painting came about from my nomadic experience between working in the woods of British Columbia and then returning to urban Montreal and through this sensing the tensions between manufactured structures and natural forces.  Knowing the chaos of the natural world and viewing the attempts to contain these forces, I started to think about thresholds or breaking points.  Locally, I was seeing things like safety fences for snow and falling rocks, and more globally thresholds in ecologies and climates for temperatures, and levels of pollution.  The moment the natural world exceeds or breaks our expectations or assumptions feels like a very dramatic moment and one to constantly learn from.   The challenge both felt and communicated in this painting is: can we be keen observers of these thresholds or breaking points and make cultural and societal changes in our designs and attitudes regarding these urban and wild terrains of  ‘vibrant matter’. “

 

2012 CSCE Art Competition Winner: Taryn Kneteman

To Take Apart Together II, 2012

Taryn Kneteman is an Intermedia and Print artist from Edmonton, Alberta currently living in Montreal, Quebec.

“The urban landscape is an integral part of the everyday experiences of people living in a city. Living in a city for an extended period of time can create a feeling of extreme familiarity with the urban landscape, perhaps to the extent that one does not actually look at the scenes passing by through the car window, but instead sees what they expect and what has been seen many times before. In addition, it is often difficult to distinguish images of non-iconic urban spaces as being definitively of one city or another. This non-specificity of images of the urban landscape contributes to the familiarity that may lead to experiencing the world with a distracted gaze.

In my work, I am interested in encountering moments that interrupt my everyday routine and shift familiar environments to being unfamiliar.

By isolating images of traffic lights, cars, and car dealership balloons that are usually seen in the blur of driving by, I strive to make this familiar scene unfamiliar in order to shift it from the expected and accepted way that it is perceived.

To make my prints, I use a combination of digital printing and silkscreen; the images are mediated through the technologies of photography and printmaking just as our everyday experiences of seeing are mediated through technology.

Infrastructure makes up the urban environment and decisions regarding infrastructure influence the future every day experiences of people living in cities. Digital printing and photographic imagery are often accepted as truthful representations of our material reality. By combining the languages of photography and digital printing with traditional printmaking, I seek to shift this perceived truth to a place where accepted reality gives way to the possibility of seeing everyday perceptions and the familiar in new ways, and offers new perspectives on building for the future.”