Corey J. Isenor, originally from Enfield, Nova Scotia, now lives in Halifax of the same province. He received a Bachelors Degree in Fine Arts from Mount Allison University in 2010 and following a year off, held the position of Inventions Library & Archives Coordinator at Eyelevel Gallery in Halifax, NS for 2012. Before returning to Halifax in 2017, he spent 5 years on the southern shores of Nova Scotia, making friends, work, and living in the communities along the ocean, while also travelling throughout Canada on occasion.

Since 2017, Corey has split his time between exploring the natural world with his camera, and working as a Stills Photographer within the Television & Film industry. Corey is a member of IATSE Local 667, and for the past 6 years has worked on the television series This Hour Has 22 Minutes, as well as the feature-length films Spinster (2019) and Bubbles & The Shitrockers (2024).

Corey’s work has been exhibited internationally at SPACE PLACE, Nizhiny Tagil, Russia, and online via Black Box Gallery in Portland, Oregon. Nationally, Corey has exhibited work in cities including Toronto, ON (Gallery 44-Proof 20), Moncton, NB (Galerie Sans Nom), Halifax, NS (Eyelevel Gallery), and Saint John, NB (Saint John Arts Centre). He has also been featured in the publications Small Victories (Booooooom), Aint-Bad No.14, OPAL Community Issue #2, and ‘The Periodical Project’, as well as being featured online via Booooooom, iGNANT, C41 Magazine, Float Magazine, and Lyfstyl. He was also the recipient of the 2014 Canadian Society for Civil Engineers Maritime Emerging Artist Award.

Artist Statement - 2024

I’m interested in everything the natural world has to offer, and the separation between dominantly Western human cultures and our connections with this natural world; a gap that appears to be continually growing. My work is focused on exploring our concepts of appreciation towards the natural world and how this attitude presents itself. Most of these ideas deal with the philosophical, spiritual or personal sides of these relationships, while also taking into account the continually changing tourism of ‘natural beauty’ and the value of the landscape.

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