MARCH FORWARD
For All Women, Queer and Gender-Diverse Communities
March 8, 2025
INTERVIEW
PHOTOGRAPHY Suzanne Phoenix
INTERVIEW Karen Ghostlaw Pomarico
As we come together to celebrate International Women's Day, we acknowledge not only a historic milestone but also a powerful movement that continues to shape societies worldwide. Now in its 110th year, this annual occasion serves as a resounding call to honor the extraordinary social, economic, cultural, and political achievements of women across generations. It is a day to reflect on the progress made in the fight for gender equality, to recognize the resilience and contributions of women in all spheres of life, and to amplify the voices advocating for a more just and inclusive world.
Now in its 14th year, Suzanne Phoenix’s International Women’s Day photography series continues to celebrate and amplify the voices of inspiring women and gender-diverse people from Melbourne, the Yarra Valley, and beyond. Since 2012, this project has grown into a powerful visual archive, capturing nearly 200 portraits of artists, activists, musicians, performers, writers, and changemakers who challenge, inspire, and shape our world.
Suzanne is a queer Naarm/Melbourne-based photographer, artist, and self-publisher whose work explores people and places with endless curiosity. Her photography spans portraits, live music, performance, documentary, and street photography, capturing the essence of daily life and cultural movements.
Each year, Suzanne curates a new collection of portraits, offering a glimpse into the fierce, funny, and extraordinary individuals who drive progress in their fields and communities. These images are more than just photographs — they are statements of resilience, strength, and the ongoing fight against inequality, discrimination, and gendered violence. This annual portrait series is a testament to Suzanne’s dedication to visibility, storytelling, and social change.
As we celebrate International Women’s Day in 2025, this year’s series once again brings together a remarkable group of individuals, reflecting on the significance of this global movement. Through photography, Suzanne creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated.
“I hope that everyone can see a wide range of cis and trans women and gender diverse people who they might recognise but invariably some (often many) they will not, and they will then look them up and connect with them. I want to show strong, vulnerable, moving portraits just as we really look and not what we see in the homogenised media.”
MARCHING FORWARD WITH SUZANNE PHOENIX ON INTERNATIONAL WOMEN'S DAY
THE PICTORIAL LIST: What originally inspired you to start this International Women’s Day photography series in 2012? What were your aspirations at that time for the project?
SUZANNE: I turned up to work one day at a Neighbourhood House and to my surprise all the women were dressed up for IWD. I just started creating portraits with them and asked them what the day meant to them. I had no idea at that time that it would end up being an annual project.
TPL: Over the past 14 years, how has this project evolved, and what has surprised you the most?
SUZANNE: The project has evolved to engage with people that I am inspired by and who I connect with which sees a definite focus on the live music scene, particularly punk rock, and queer performers. It has evolved in many ways from just creating portraits, to doing paste ups as street posters (firstly by hand with mates, and then through places like Plakkit) and then billboards, self-publishing zines and books and running events with the subjects of the year. The project seems to be growing and reaching a bigger audience. I am most surprised that people continue to say yes to being involved, for example Casey Donovan agreeing to take part this year was a big, beautiful surprise.
TPL: How has your work as a photographer been shaped by the themes of gender equality and representation?
SUZANNE: My whole life has been heavily influenced by my experience of childhood family violence. Gender equality is a key driver for me to try and make a difference in all I do, and it is prominent in my photography work. I believe visibility and representation of those who are marginalised is crucial to make positive change. For over a decade I have sought to work in places, spaces and sub-cultures with people who are often not seen or are depicted in a stereotypical way. I hope to show people in their best light, in a real but kind way, with consent.
TPL: Are there any particular portraits or moments from the series that have deeply moved or challenged you?
SUZANNE: On the day of one of the photoshoots the news broke of a young Melbourne woman called Isla and her body being found after missing for 6 weeks. In those weeks I watched the ‘Isla MISSING’ messages for weeks and I felt in my gut that she was dead, as I am sure many did. These frequent gender-based deaths of women knocked me and I tried to avoid hearing the details of her death to stay on track for the IWD photoshoots that day, but ultimately, I felt it needed to be raised and not ignored in those portrait sessions.
TPL: You feature a diverse range of individuals in your portraits — how do you go about selecting your subjects each year?
SUZANNE: I have a list. When I witness a person that I find unique, inspirational, someone who rocks my world, I add them to the list. There are some people I invite every year, but the portrait hasn’t happened yet, but I hope it will one day. So, I usually go back to them as the first on the invite list. Then I look at everyone and try (I say try) to curate a group of people who offer diversity of views and interests. I often have to take a deep breath and just send the invite because if you never ask, you never know.
It has become clearer every year that this IWD project has become a place to channel my energy in response to every act I see of violence towards women, inequality and discrimination.
TPL: How does capturing both prominent figures and everyday individuals contribute to the storytelling and impact of this project?
SUZANNE: It provides a platform for individuals at different levels of their career, and I hope it helps elevate those who are emerging. I think an everyday individual has an important presence in this series for many reasons including the profiling of their life experiences and perspectives. I am also particularly interested in people in what could be perceived as their ‘break through’ moment. For example, Amy Taylor of Amyl and the Sniffers was in the series before the band became an internationally recognised band. In 2021 when we were in covid lockdowns, I couldn’t do portraits so I went back to everyone in the series to date and asked them if they would like to answer the question about IWD again. It was an interesting exercise to see how views changed, and Amy was one of these people. I think the documentation of stories before people experience a different level of fame is an important act.
TPL: Photography has the power to shift perceptions — have you seen this project create tangible change or impact within communities?
SUZANNE: It is hard for me to quantify a tangible change within communities but what I can say is I have seen change in individuals who are in the series. Also, I see how people react to the portraits and their personal stories alongside them. I have received a great deal of feedback that this work has changed their thoughts on IWD as a subversive project that bucks the trend of IWD being corporatised and commoditised with soggy croissant breakfasts that cost far too much to attend and are for a select group of a privileged few.
TPL: Can you walk us through your creative process when capturing these portraits? How do you ensure authenticity in your subjects' expressions and stories?
SUZANNE: I see the creation of the portrait as a collaborative process. I aim to provide a quiet, calm space with just the subject and myself. I can be a quick portrait photographer and only take a few shots with some people, but I take the time needed with each person. Everyone is unique with a different level of comfort in front of the camera. Some people are so used to it they have practiced skills and looks that I sometimes need to try and encourage them to drop. I always talk through the portrait being just for the purposes of this series, that in a hundred years people will look back and see and read what ‘so and so’ presented and wrote about IWD. I have recognised, especially this year, that people are reacting to me in the portrait and that they usually are showing that they like me and feel comfortable (which is lovely!). But I’ve asked a few people to look at me like they don’t like me to give a different feeling. I am unsure if this is right or wrong, but certainly some of those portraits are in the final collection.
My process includes the subject making a final decision on the portrait chosen which I understand is often not the norm. On the storytelling side, I talk about it being difficult for many to write about the subject and that individuals don’t need to give a worldview and cover off everything about it. I suggest sharing a personal story from their life, that is where the gold is. And while it is true we have come a long way, but still have a long way to go, I talk about how we don’t need to all state that and encourage the individuals to dig a little deeper.
TPL: What challenges have you faced in sustaining and growing this series over the years?
SUZANNE: The main challenge is financial. 2025 is the first year I have established sponsorships that individuals have taken up to a level that has mostly covered the outgoing costs of the work. The future challenge is to try and cover the costs of my time so I can survive as a full-time artist.
TPL: As you look ahead, how do you see this project evolving in the future? Are there new elements you’d like to explore?
SUZANNE: Every year is a bit different, often with different presentation outcomes like in 2024 the portraits were on the Bakehouse Billboards in Melbourne driven past by 2 million motorists per week. This year there will be an exhibition at Queen Victoria Women’s Centre which is sponsored by Australian Femicide Watch. The QVWC feels like a natural home for the project in a place of activism and advocacy committed to holding and creating space for Victorian women and gender diverse people to thrive. And I am so honoured to have built a connection with Sherele Moody of Australian Femicide Watch. For the future, I hope one day to see the portraits on a larger scale in an outdoor exhibition.
TPL: Finally, what does International Women’s Day mean to you personally, and how has your perspective on it changed through this work?
SUZANNE: It has become clearer every year that this IWD project has become a place to channel my energy in response to every act I see of violence towards women, inequality and discrimination. It gives me an opportunity to connect, learn, to grow as a person and artist and gives me hope.
