Roy, Marjorie

Technique: Photo assembly on metal

Marjorie Roy is a photographer whose work explores the profound interconnections between humans and nature. She uses photography as a means of personal exploration and interrogation of broader notions, such as the fragility of existence and the invisible links that bind us together. She questions themes of memory, migration and the environment, while capturing the beauty and fragility of the natural world. Her images, imbued with a poetic and symbolic dimension, invite viewers to reflect on our relationship with living things and the environment.

Artistic Approach

My artistic practice is grounded in a rigorous yet sensitive photographic approach. I am drawn to landscapes, nature, and animals subjects that require a high level of presence, both technically and emotionally. I travel across regions of Quebec and have also completed a series in the North, notably in Whitehorse, Yukon.

Each project comes with its own conditions. In the field, working with geese confronts me with unpredictability: they follow their own rhythm, change locations without warning, and their takeoff is never guaranteed. I must adapt, be patient, and ready to capture the perfect moment.

In the studio, the process is different but equally demanding. The peonies of Kamouraska, for example, require careful and swift attention. Their beauty is fleeting, their structure delicate. I must compose the arrangements with precision, in a limited timeframe, before they begin to wilt.

Once the images are captured, the creative phase begins. I select one or more photographs to construct composite landscapes or scenes. An image taken in Saint-Isidore may be enriched with a forest from Chibougamau or the St. Lawrence River photographed in Saint-Michel. Other times, a single image stands on its own and becomes a unique work.

Some photographs serve as the foundation for several creations. With each transformation, a new visual universe emerges. I do not follow a strict method: often, it is a detail, a light, or an atmosphere that guides me.

My work explores the possibilities of photographic imagery: between capturing reality and recomposing it, I aim to create works that open up a new space for perception—where the viewer is invited to slow down.

Creating the Work

Once the photographs are taken, I select one or more to create landscapes, scenes, or atmospheres. Sometimes, I begin with an image that has already been modified, which I continue to rework.

For example, I might start with a photo taken in Saint-Isidore, add a forest from Chibougamau, and include the St. Lawrence River captured in Saint-Michel. Other times, I use a single image and make it unique through its simplicity alone.

I often reuse a base photograph multiple times to create entirely different pieces — each transformation tells a new story. I don’t follow a fixed production method. I let myself be guided by an image in my archive, by a detail that catches my attention, and I go from there.

Titles and Materials

I title each piece with the exact date and time I consider it finished. This choice grounds the work in a concrete temporality, while leaving room for interpretation.

The images are printed using a UV process on aluminum a medium that allows me to play with surface effects. Depending on the desired result, I choose either a brushed metallic finish, which enhances contrast and eliminates white, or a white metal, which preserves fine details and the purity of whites. The support thus becomes an integral part of the work, in dialogue with the image.

Awards and mentions

• 2019 - Prize of the MRC de la Nouvelle-Beauce, Chaudière-Appalaches in Works
• 2018 - 3rd place Exquisite QC Competition and Favorite Prize
• 2013 - Mention from the jury, Public Prize, Desjardins competition of the Marius Barbeau Museum
• 2012 - Mention of the jury in the Desjardins competition of the Marius Barbeau Museum