[2] Since the late 1990s,[2] Hayeur has created public art commissions, photography books, video installations, and has participated in many solo and group exhibitions.
[2] Hayeur's suburban upbringing is highly influential to her works, where she frequently confronts the issue of land exploitation in urban planning.
[7] Steepled roofs, bay windows, and double car garages, stand out as formal characteristics of urban sprawl building.
[7] 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.
[6] These new contexts are described as being both no place and everyplace, referencing how seemingly rural Canadian communities have become prime venues for suburban sprawl.
[8] 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.
[8] The goal of Excavations is to show model homes in unaltered environments, providing x-ray like visions of the geological foundations they sit upon.
[9] By using digital manipulation to merge these man made habitats with their natural origins, Hayeur shows the coexistence of spaces that appear disconnected.
[4] Hayeur's panoramic photographs are digitally manipulated as she retouches the landscapes by adding fragments of other images taken from environments in various locations.
[13] In Losing Ground, Hayeur uses time lapse videography to capture recently man-made territories, confronting viewers with footage of their own depleting environment.
[6] 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.
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.
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.
[20] 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 University of Montreal.
[21] 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.