Kate Roy is an Emerging Canadian artist and has found a passion for research within the art world. She is a writer, performer, experimentalist and a student of life. Her art practice is a means for growth and is not limited to a single medium. The Photographic Arts is a large passion within Kate's practice and is often used to communicate her expression within large concept ideas. 

Kate has received her Photography Diploma from the New Brunswick College of Craft and Design in 2016 and won the Mary-Ellen Nealis Award for the top photographer of her graduating year. Since 2014 Kate has participated in 7 group exhibitions, was awarded the 2019 Luna Bursary grant, the Award of Visual Merit in 2020 and has self-published Eight Photo-based books titled; With the Wind, It’s all about you, Affinity, Evon Stremel Roy, A Beautiful collection, Beneficiary, Quaran-Zine and BLUmE. Kate has recently received her diploma from the full-time Portfolio Program at The School of the Photographic Arts Ottawa, in May 2020.


As a Photo-based artist, my practice has been influenced by my experiences of living with C-PTSD and learning to heal from my traumas. I suffered a great number of years alone without any formal diagnosis which left me living with everything I had been through completely untreated. I was worn down and isolated for years and withdrew from friendships, relationships and family; coiling inwards not knowing what was wrong. Through my work I curate concept ideas that help express and interpret some of the most intimate parts of myself, using my art practice as a tool of healing. Each series of work I create is a narrative of mixed whimsical and volatile depictions of my life, typically involving outsourced subjects to sit in place of myself. I slowly curate every aspect of each shoot with symbolism, research, design and subject matter to force myself to confront and categorize the trauma in a new form of muscle memory, helping to re-establish control over troubling aspects of my own reality. I am fascinated by the amount of change we can install in our own nervous system by learning new disciplined ways of thinking. Using historical film processes as my main source of communication to my audience is another form of symbolism that demonstrates that the trauma’s I have experienced are no longer living memories, but instead tangible photographs I carefully curated and can now hold and control in the palm of my own hand, becoming the master of my own mind.