Caroline Phillips is an Australian visual artist whose work has been shown in a number of solo and group exhibitions locally and Internationally. Working in sculpture, and photography, Phillips creates handmade objects and installations that synthesize industrial and textile based materials. Her work critiques contemporary feminist aesthetics through modes of abstraction and material presence. Motifs of embodiment, connection and tension are developed in her practice through soft and flexible minimalist objects, and their handling. Phillips also works as an independent curator and researcher on collaborative projects that highlight the strength of women’s art practice and challenge systemic inequities in political and cultural systems.

Phillips has completed a PhD (Fine Art) from Victorian College of the Arts, University of Melbourne in 2017. She holds a Master of Fine Arts (2012) and a Postgraduate Diploma in Visual Art (2009), also from the Victorian College of the Arts, and a Bachelor of Fine Art (Painting) from Phillip Institute of Technology, Melbourne (1983). Her work has been shown at a broad range of galleries and museums across Australian and International venues. Solo exhibitions have been held at Anese Projects – New York, George Paton Gallery – Melbourne, Blindside – Melbourne, Margaret Lawrence Gallery – Melbourne, Factory 49 – Sydney, Craft – Melbourne and the Cité International des Arts – Paris. Selected group exhibition venues include: Slade School of Art Research Centre – London; The Substation – Melbourne; Noosa Regional Gallery – Queensland, The Great Hall, OCAD University –  Toronto; Kings Artist Run – Melbourne; Seventh – Melbourne; M16 – Canberra; West Space – Melbourne; Artscape Gibraltar Point – Toronto; Australian Tapestry Workshop – Melbourne; Ararat Regional Art Gallery – Victoria; First Draft Gallery – Sydney, Living Museum of the West – Melbourne; Albury Art Gallery – New South Wales and NARS Foundation – Brooklyn, USA.

Fannie Gadouas is a Montreal-based emerging artist and curator. She is an alumni of the Haliburton School of The Arts, Fleming College, where she graduated as Valedictorian, receiving two college certificates in both Darkroom Photography and Design. Gadouas also graduated from Concordia University, where she received her BFA in Studio Arts with a major in Photography. Gadouas currently works as the Coordinator of Research for the Post Image Cluster at Milieux Institute, and as Project Coordinator for Galerie B-312.

Gadouas works with the mediums of photography, video, fiber art and performance art, exploring issues pertaining to feminine identity and experience. By re-appropriating various traditional imagery, techniques and rituals, she questions and challenges the way gendered identity is constructed and perceived in western society. Both as a curator and artist, Gadouas is greatly interested and considerate of heritage and history, exploring the ways in which knowledge, skills and behaviors are transferred through generations and time.

In 2015 Fannie Gadouas participated in the FAC conference and residency in Toronto, expanding her feminist perspective and collaborative practice. Gadouas' work has been published and featured in multiple exhibitions, most recently in The Echo Game at the FOFA gallery and in Tomorrow at the Lilian Rodriguez Gallery. Additionally, Gadouas occupied the role of Exhibition Coordinator for the 2016 Art Matters Festival and recently co-curated Chercher des personnes, des lieux ou d'autres choses, an exhibition in collaboration with Corine Beaumier for Les Territoires and Galerie B-312.

Jenna Reid first learned to quilt as a preteen as a way to connect with her paternal family. Experiences of grief, intense nostalgia and a deep respect for the feminist roots of quilt making have inspired Jenna to use quilting as her chosen medium in order to engage with and express issues of disability justice. It was through her aunt that Jenna learned the essential skills of the craft of quilt making. This included the fundamentals of construction and the significance of making the connections between her current practice with both her personal history and the history of the social world around her.

Through her training in the Fibre Arts Program at Haliburton School of the Arts, Jenna has worked towards developing and honing her skills as an emerging fibre artist by focusing her studies on quilt making and the processes of nature based dyeing. Working across the disciplines of Critical Disability Studies and Fibre Arts Jenna is able to engage artistic practices as political and socially engaged expression. In this way, Jenna hopes to connect her own personal practice as a fibre artist as being intricately linked to her engagement with and contribution to the Mad and Disability Communities around her.

Kelly McInnes is privileged to be a settler based in Vancouver, B.C. on the unceded Coast Salish lands and waters of the Musqueam, Squamish and Tsleil-Waututh First Nations. Kelly dances with the intention of healing and through this works as a choreographer, performer and facilitator. A graduate of the Modus Operandi Contemporary Dance Training Program, Kelly has also trained extensively in contact improvisation at EDAM Dance and in somatic movement practices with Helen Walkley.

Often multi-disciplinary and site specific, Kelly's work explores the socio-political and invites an attention to sensation through her work. She investigates pleasure as resistance, ritual, voyuerism, body image, gaze and our bodies' connection to the earth. She seeks to challenge the status-quo and accepted normalities of how bodies, experiences and expression are censored. Kelly's choreographic work has been presented throughout Canada and in Mexico.

Community-engagement is an important part of Kelly’s practice. She has co-facilitated MINE Youth Project for the past two seasons and begins a new youth project this fall 2018. This fall, Kelly is also begins her artist-in-residence at The Roundhouse Community Centre for their 18-20 season, where she will facilitate the centre’s community dance group.

Kelly is a member of the collective, Pressed Paradise, that focuses on activating public and unconventional spaces with performance. She is also a member of Mutual Futures collective with a focus on the practice and performance of improvisation.

Born in 1980 Bergen, Norway. Lives and work in Oslo, Norway. Margreta Stolen with her sharp skill, large scale and subject matter make her the one to watch of her generation. She describes herself as a visual storyteller, and make dystopian and fragmented stories told through drawing. The darker sides of our culture have always fascinated her. Black Metal and horror movies often influence Margreta Stolens work, but she twists the imagery around to portray contemporary feminist view on female identity. Educated at Central St. Martins, London, (2004 – 2007), and Goldsmith College, London, (2015 - 2017). Margreta Stolens work has been exhibited in the U.K., Germany, and had numerous solo exhibitions in Norway. She has received National Exhibition Funding from the Norwegian Arts Council in 2013 and 2014.

My work focuses on social issues and often addresses what, in the past have been termed "women's" issues. I believe they are problems that harm the whole of society. I use whatever medium I feel best suits the message of any given work. In the past I have utilised spotlighted, abrasive blasted acrylic sheet in several bodies of work. The medium illustrates how society looks right through these issues as if they weren't there. It also allows me the "shine the spotlight" on them to build awareness and create dialogue.

Born in Toronto, Canada. Melissa Koziebrocki is a multi-disciplinary Feminist Artist whose performance based art practice focuses on the body as the physical site for trauma. Koziebrocki’s art practice broaches questions of identity and tackles systems of oppression that opens up space for dialogue concerning daily performances of feminist, patriarchal violence and queer issues. She approaches this problematic subject matter in a satirical manner, using the tactics of kitsch intervention and Misandrist humour, presented under the conventions of high art. Her activist practice is irreverent and anti-authoritarian. It subverts normative notions around gender and patriarchy and exposes the injustice of the status quo enforced by a male centered system. Costuming and set design inform her practice: whether that takes form as a site specific performance installation, a photograph, a mixed media collaged intervention or a painting.

Participating Exhibitions and curatorial projects include the Rhubarb Festival (2015), Process Performance Art Series(2014), 101 Vaginas (2014), Feminist Art Conference (2014), Bend Over: Images of Gender Exploitation (2013), The Figure Show (2013); Meat Curtains (2013), Please Copy Us Forever (2011), The House that Masons Built (2010), and A Soft-Core Peephole (2010).

She has previously worked in the offices of Art in General, Justina M. Barnike Gallery, Art Gallery of York University, Inside Out Film Festival, Saidye Bronfman Centre for the Arts and National Museums of Kenya.

She has a Bachelors in Art History from McGill University, a Bachelor of Fine Art from OCAD University, and has a Masters of Museum Studies from University of Toronto.

Nigit'stil Norbert is a photo-based artist originally from and based out of Yellowknife, NT. She has exhibited in Canada and the US, and in June 2012 completed her BFA in Photography at the Ontario College of Art & Design University in Toronto, ON.

Norbert is interested in making new traditions, where the old meets the new and contemporary. Her most recent explorations have involved stop-motion photography, unique beaded photographs, and installation-based works. Norbert's art practice focuses on the historical and contemporary representation of Aboriginal peoples in Canada.

Along with her extensive research regimen her art explores ideas of representation and misrepresentation, the role of the museum in the Aboriginal art scene, and stereotypes. By employing such practices she leads her viewer to fresh and new insights into the world of the young contemporary Aboriginal art scene that is exploding across our great country. 

Within her art she likes to speak simply, honestly and without fear.

Shelby Lisk is an artist, writer and photographer, born and raised in Belleville, close to her roots of Kenhtè:ke (Tyendinaga Mohawk Territory). She completed her degree in Fine Arts, with a minor in Gender Studies at the University of Ottawa (2015) and a diploma in Photojournalism at Loyalist College (2019). She is currently completing a certificate in Mohawk Language and Culture through Queen's University and Tsi Tyónnheht Onkwawén:na (2020).

Shelby has exhibited her work in Canada and the U.S. Her writing and artwork have appeared in Red Rising Magazine, Hart House Review and #NotYourPrincess: Voices of Native American Women, published by Annick Press. She is the recipient of a Governor General's History award in the Indigenous Arts and Stories category (Historica Canada 2018), best "short short"in TVO's Short Doc contest (TVO, 2019), Emerging Indigenous Reporter Scholarship from JHR (Journalists for Human Rights, 2017), the Helen Nininger Scholarship in Fine Arts (University of Ottawa, 2015) and the Daïmôn Prize for Photography (University of Ottawa, 2014).

I grew up as a stranger to my own story; adopted and re-named, grafted into a new family tree. The discovery in adulthood of my Ojibwa-Metis heritage was a revelation that set me on a path of discovery. I work in the powerful tradition of the vessel as metaphor for individuals; we fill and re-fill ourselves throughout life to create our own story. My developing story as an indigenous heritage woman and her quest for harmony with the natural world.

Nature not only inspires my forms but provides the substance of my sculptures. Working in beeswax as a sculptural medium is a concept I have developed based on the tradition of encaustic painting. This special medium is wonderfully pliable and responsive when heated and results in a finished object with a delicate scent and a soft, magical, tactile quality.

Valerie Carew produces interdisciplinary art as an act of resistance to social and environmental severance through performance, wearable art, installation, painting and field research. Methodologies of role-play, biomimicry and humour are strategies used to describe relationships with land and female identity. She employs the home as a symbolic device and a physically mediating object between the body and natural environments. Using the body as a substrate for fibre-based art making, Carew connects the viewer to ecosystems in Ontario, Canada. Currently, Carew is transcribing oral stories describing mid-century life in Newfoundland, told to her over her lifetime by her father Arthur Carew. Evoking land memory and nostalgia, these stories describe mid-century settler island culture, Newfoundland folklore, and underscore evolving relationships with land and water on the island. This transcription occurs through pictorial story telling referencing traditional colonial rug hooking techniques and speculative garment design.

Carew has exhibited internationally, including Napier University in Edinbugh (2018), Dances at Dances at MuCCC: Festival of Contemporary Dance in Rochester NY (2017), and F Generation: Feminism, Art, Progressions in Melbourne, Australia (2015). Recent exhibitions include: Elaine Fleck Gallery (2019, 2018), Gender and The Lens II at Ryerson Artscape (2018), John B. Aird Gallery (2017), Hard Twist 11 and Nuit Blanche-Fly By Night, both at The Gladstone Hotel (2016). She is an award winning graduate from the Interdisciplinary Master’s in Art, Media and Design Program at OCAD University (2016) where she received two scholarships and the 2016 Outstanding Exhibition Award for her thesis Enclosure Movement: Comparative Dwelling and Embodiment.