Ava Margueritte, a neurodiverse multidisciplinary artist rooted in Ottawa-Gatineau, invites us into her deeply personal world through her latest photography exhibition, “Landfall,” opening at Shenkman Arts Centre on Sept. 16. Through introspective imagery that speaks to the cyclical nature of living with invisible disabilities, Margueritte’s work shifts a solitary experience into a collective conversation.
Apt613 spoke with the artist about her creative journey, the strength of her local network, and how she translates personal stories into a shared public experience.
Ava Margueritte. Photo by Yuli Sato.
Apt613: Your series “Landfall” highlights how support networks and the natural environment contribute to mental health. How did you identify and choose the individuals and places to photograph for this series to represent your personal journey?
Ava Margueritte: This series was born out of recovering from burnout. Every subject I photographed—a person or place—brought me solace and refuge. I rebuilt relationships and revisited spaces that were important to me. I noticed a pattern over time: the environmental images leaned more towards my childhood, while the portraits were of people I’m close to now. It amplifies my curiosity about how long it takes for something once comfortable to become foreign.
Your work has been described as being deeply personal and introspective. What is it like to take such a personal experience and share it with the public? How do you feel it contributes to shifting that solitary experience into one of connection?
I wanted to translate my feelings through the natural landscape, and every image is a little snippet of my inner world. I was diagnosed with learning disabilities at a young age and had to keep them a secret for a long time, which was very difficult. My artwork allows me to speak about my experience in a more digestible way than just explaining that I’m dyslexic, have CAP-D (a central auditory processing disorder), and anxiety. It creates space to discuss what living with learning disabilities and a mental illness is like.
What do you hope will be the most valuable takeaway for viewers of “Landfall”? What conversation do you hope your work sparks within the community?
There are tough conversations to be had about how we relate to each other and the environment. We see a push to maximize productivity, especially in corporate spaces. The counter to this is slowing down to enjoy the people and spaces around us. One of the main thoughts that kept me on track was creating a space for contemplation and tenderness, which
led to making quiet but evocative work.
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- Quiet Cut I. Photo by Ava Margueritte.
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- Quiet Cut II. Photo by Ava Margueritte.
Analog photography is a central part of your practice. In an age of instant digital gratification, how does the slower process of film photography allow you to communicate the nuanced and evolving nature of mental health?
Analog photography counters fast-culture mindsets. It gets my mind moving and helps me focus on the narrative and point of my work. Slowing down allows me to reflect on the moment, while a digital process would keep me in it. This gives me space and time to post-produce in a way that fits with my narrative, turning the work into a post-documentary language rather than just a documentary one.
How did you use your photographic lens to visually represent the contrasts between the fluidity of nature and the rigidity of society? Can you describe a specific image from the series that you feel captures this theme most powerfully?
The pairing Push, Gravitate best articulates these themes. The rigidity of society and fluidity of nature are represented by portraits and landscapes. My portraits are intimate and powerful, yet quiet and engulfed by delicate lighting. My landscapes have vibrant colours, and this one in particular has dramatic lighting. The image demonstrates movement in the landscape, there’s a sense of transition in time. In contrast, the portrait is quite stoic, a sense of strength in both pieces which are at odds with each other. The visual and thematic links are tied together by colour, creating a unified narrative.
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- Push, Gravitate I. Photo by Ava Margueritte.
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- Push, Gravitate II. Photo by Ava Margueritte.
How does the geography and character of Ottawa, especially in contrast to your Northern Ontario roots, influence the visual language and emotional tone of your photography?
The city of Ottawa has similar characteristics to North Bay, but on a bigger scale. The main difference is North Bay resides in the boreal forest. I’m more familiar with that landscape and I know the cycles of the insects and the seasonal changes of the flora. Ottawa has large, imposing trees that dominate the environment. When I was young, I looked for desolate environments that brought me comfort. The foundation of my images is based on these landscapes, and I remain curious about how they reflect feelings and recollect memories.
How has being part of Ottawa’s community of artists and institutions influenced your development and the themes you explore?
After graduating from OCAD in 2017, I took a sabbatical. My practice was at loose ends until 2018 when I applied to the School of the Photographic Arts: Ottawa (SPAO). Re-immersing myself in photography there provided a clear direction. The people around me were approaching photography in an innovative way, and their ambition and interest in bookmaking inspired me to think bigger. My colleagues are experienced people with varied careers who are passionate about the arts.
What do you think the city does particularly well to support its creative community? What opportunities or challenges have you found unique to Ottawa?
The Ottawa arts community is incredibly supportive. As an emerging artist, I feel my contemporaries are committed to my growth. There’s a hunger for art in Ottawa, and I anticipate an even more vibrant arts community in the next few years. I would like to see local institution prioritize local critical artists. When I first moved here, I heard that “artists never stay.” Toronto prioritizes its local artists, and Ottawa could gain a lot from a similar path, retaining and nurturing
artists who would go on to compete internationally.
The vernissage for “Landfall” at the Shenkman Arts Centre will be on Sept. 16 between 6pm-8pm. You can find more information on the event Facebook page, or on the artist’s website.
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