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View of “Ciara Phillips,” 2016. Walls: Forms we recognise, 2016. On walls, from left: Emily reading, 2015; no title, 2016; Of more or less, 2015.

Ciara Phillips

Centre for Contemporary Art

View of “Ciara Phillips,” 2016. Walls: Forms we recognise, 2016. On walls, from left: Emily reading, 2015; no title, 2016; Of more or less, 2015.

Asked to write a job reference for the industrious Canadian-Irish artist Ciara Phillips, I might choose to praise her as a committed team player. Much of her work to date—centering on the medium of print, which she employs in the production of images, installations, and interactive situations—has been determinedly collaborative. Phillips is a believer in the democratic accessibility of printmaking, utilizing its tools and processes in ways that emphasize open, experimental situations of communal creativity. Her 2013 exhibition at London’s Showroom—“Workshop (2010–ongoing),” a project that in 2014 earned her a Turner Prize nomination—included an active screen-printing studio where she assisted the group Justice for Domestic Workers in preparing visually arresting protest materials. Similarly, for “Pull Everything Out” at Spike Island, Bristol, UK, in 2012,

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