Hilary Dodd is a Melbourne born artist, whose interdisciplenary practice shows a unique investigation into industrial materials. She completed her undergraduate degree in fine art, majoring in sculpture and spatial practice, at the Victorian College of the Arts, Melbourne. She received a number of prizes in her graduating year, including the sculpture award at the 2015 Proud exhibition, held at Margaret Lawrence gallery, as well as two awards at the annual graduate exhibition. In addition, Dodd was a finalist for the Majlis Travelling Scholarship in 2015 and for the Hall & Wilcox Art Prize in 2016. Dodd is currently living and working in Melbourne.

2015 Bachelor of Fine Arts (Visual Art), The Victorian College of the Arts

Solo shows
2017 - Subcurrent, No Vacancy Gallery (Federation Square space), Melbourne
2017 Black, Rubicon ARI, Melbourne
2017 Severance, Seventh Gallery, Melbourne (In Collaboration with Yumemi Hiraki)
2017 Anomalous, Tinning Street, Melbourne
2016 The Wind Has Shifted, C3 Contemporary Art Space, Melbourne (in collaboration with Yumemi Hiraki)
2016 IntrinsecusGogo series, Melbourne

Group shows
2017 In the creases of time, Red Gallery, Melbourne
2016 Hall & Wilcox Art Prize, Hall & Wilcox, Melbourne
2016 Visceralis, George Paton Gallery, Melbourne
2015 VCA Graduate Exhibition, Victorian College of the Arts, Melbourne
2015 Tulalah 'The Flood', The Shadow Electric, Melbourne
2015 Proud, Margaret Lawrence Gallery, Melbourne
2015 Majlis Travelling Scholarship, Margaret Lawrence Gallery, Melbourne
2015 We're all gonna die, VCA Student Gallery, Melbourne
2014 Untitled, VCA Student Gallery, Melbourne
2013 Shift, VCA Student Gallery, Melbourne
2013 Proud, Margaret Lawrence Gallery, Melbourne

2016 Hall & Wilcox Art Prize
2015 Majlis Travelling Scholarship

2015 Sculpture Award, Proud exhibition
2015 gogo Art Series Award, VCA Graduate Exhibition
2015 Majlis Encouragement Award, VCA Graduate Exhibition


Hilary Dodd typically works with dense, textural substances, using cement and oxide as her primary materials. She asks one to examine these materials in unsuspecting variants and reveals their ability to move us in ways that are difficult to immediately cognise. Dodd attempts to embrace the unguarded subconscious by capturing the unstable core that harbours in all of us. Her unique approach to using industrial mediums illustrates the curious pleasures to be found in discomfort. The abstracted surfaces and unfamiliar textures create canvases in various states of aesthetic decay.