Caitlin Rowley is a composer-performer and artist whose work often playfully addresses ideas surrounding private spaces, memory and aural imagination. Her work draws on many strands of her experience as artist, designer, coder and writer, and encompasses a wide range of approaches - from scores which are unique art objects to instrument-building, virtual reality and video art.

Caitlin’s work has been performed and exhibited at hcmf//, Aldeburgh Festival, Kings Place, the Barbican, Southbank Centre, SPOR Festival (Denmark), the NOWnow Festival (Australia) and the Royal Academy of Arts (among others), and broadcast on national radio in the UK, Denmark and Australia. She is a member of acclaimed composer-performer group Bastard Assignments, with whom she was a Snape Maltings Open Space artist in 2017-19.

Caitlin’s early compositional training was with Peter Sculthorpe at the University of Sydney, followed by studies in screen composition at the Australian Film Television and Radio School and a Graduate Diploma in Design before she left Australia to move to the UK. In 2012 she returned to her music studies after a 15+ year career as a web interface developer, graduating from Trinity Laban’s Master of Fine Arts (Creative Practice) degree with Distinction in 2014. At Trinity Laban, she studied primarily with Errollyn Wallen, Paul Newland and Stephen Montague. She has recently (2026) completed her PhD ('Studio/Stage: Entangling private and public creative spaces through interdisciplinary composition') at Bath Spa University, under the supervision of composer James Saunders and artist Robert Luzar.

Caitlin's doctoral research focused on the documentation of creative practice and how this can be used to surface private creative practice into the public realm, both as content to be used within public-facing pieces and more directly through projects such as publishing her composition notebooks online and her composition vlog. As a member of the Cyborg Soloists team at Royal Holloway, University of London, her research has focused on the use of Bela nanocomputers to facilitate portability and sonic illusion, and she is currently exploring the possibilities of artificial intelligence to support composers who only code intermittently, when working with visual music programming languages like Pure Data.