Caroline Phillips is a visual artist based in Melbourne, Australia, with a PhD from the Victorian College of the Arts/University of Melbourne (2017). Her studio practice is augmented by participatory and collaborative projects that build feminist community. Using sculpture and photography, Caroline is interested in reconfiguring relationships of power, sexual politics and embodied experience to re/present the relational art object as a feminist object. Through modes of connection and inter-relation in both her methodology and outcomes, her work re/imagines an ethical feminist future.

Phillips has exhibited in over 50 solo and group exhibitions internationally at venues including;  Ararat Gallery TAMA (Victoria), Australian Tapestry Workshop (Melbourne), Blindside (Melbourne), Cité International des Arts (Paris), Factory 49 (Sydney), First Draft (Sydney), George Paton Gallery (Melbourne), Great Hall OCADU (Toronto), Living Museum of the West (Melbourne), M16 (Canberra), Margaret Lawrence Gallery (Melbourne), MAMA (Murray Art Museum Albury),  Nars Foundation (Brooklyn, NYC),  Noosa Regional Gallery (Queensland), Slade School of Art Research Centre (London) and The Substation (Melbourne). She held her first New York solo show in 2017 by invitation with NARS Foundation.

Phillips has been successful in securing grants and funding across a number of research, development and presentation projects including NAVA Australian Artists’ Grant, City of Melbourne Arts Project Grant, Creative Victoria VicArts Grant and the Copyright Agency Limited Creative Industries Career Fund Grant. She has undertaken a number of local and International artist residencies including Australian Tapestry Workshop Artist in Residence  (Melbourne), Feminist Art Conference International Feminist Art Residency (Toronto)NARS Foundation International Artist Residency (Brooklyn, NY) and Art Gallery of New South Wales Moya Dyring Studio, Cité International des Arts (Paris). Phillips was the inaugural winner of the George Paton Gallery Proud Award  (2009) where her work was acquired for the University of Melbourne Student Union Art Collection.

Alongside her studio practice, Phillips has presented a number of independent curatorial projects including: The f Word; Contemporary Feminist Art in Australia (2014), exhibited at  Gippsland Art Gallery, Sale and Ararat Gallery TAMA;  The Technopia Tours Feminist Art Bus (2014) with Kim Donaldson;  f-generation: feminism, art, progressions (2015) with Veronica Caven Aldous and Juliette Peers, presented at George Paton Gallery, Melbourne;  and AS IF: Echoes of the Women’s Art Register (2015) with the Women’s Art Register, exhibited at West Space, Melbourne. Phillips continues her involvement with the Women’s Art Register –  Australia’s living archive of women’s art practice – in the leadership team. She has published book chapters, catalogue essays and edited the Women’s Art Register Bulletin magazine. Her essay The Long Haul, Women’s Art Archives was published earlier this year in the book ‘She Persists, Perspectives on Women in Art & Design’, published by the National Gallery of Victoria (2020).

In 2019 Phillips commenced the ongoing social media art project #imawomanartistproject

@imawomanartist lists one woman artist a day who is Australian or has worked in Australia for a substantial time, during Phillips’ lifetime (1966- ).
No repeats!
Here for the long haul…….