Jodie Phillips is a multi-disciplinary British artist, her current work is informed by her interest in wool production. She gained her practice from her exploration of controversial topics surrounding wool production and the acquisition of land in Australia - for sheep farming and its direct implications. The pieces provide the viewer with an comprehensive insight into the 1800s social constraints and historical events; established through a range of quality and quantitative research from various sources, surrounding universal issues within the UK/ Australian wool industry. The artwork is intended to raise awareness of the impact of wool production in the UK wool industry and Aboriginal culture. Jodie uses as a focal point within her multi- media expanding paintings.
Jodie's art provides the viewer with a glimpse of her individual unique-ness, with the use of metaphors and female figures depicted through the male gaze. The pieces explore the removal of societal lifestyle, ideas and customs brought about by colonisation of aboriginal people for the achievement of economic progress. The art pieces are grandiose paintings showcased inside enormous frames, all constructed by Jodie. Jodie’s ultimate desire is to initiate thoughtful and critical discussions around colonialism and the impact of the UK and Australian wool industry.
Colonialism
Informed by my interests in wool production, my practice discusses the acquisition of agricultural land in Australia for sheep farming and the direct implication of colonisation of the continent. I explore how this has impacted the fall of the wool industry in the United Kingdom and the use of wool as a medium within contemporary art practice. My work and research are intended to raise awareness of wool, and the impact of wool production on Aboriginal culture. I question how wool can be used as art or within art through using wool as my focus within the pieces I have produced.
I am acutely aware of the difficulties encountered as a white woman and a non-indigenous Australian and the possibility of my work being viewed as cultural appropriation. However, my practice is contextualised within the history of colonialism; the links between colonialism and how both the historical and present wool industry has directly impacted the indigenous population through the appropriation of their land. The British colonisation of Australia from 1788 was an exploitation of the Indigenous Aboriginal people of Australia.
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The work aims to invoke an insight into the impact of the wool industry and the link with colonialism due to the increase in sheep farming through the appropriation of agricultural land. I explore how sheep farming and the supply and export demand of the wool trade to the United Kingdom and other countries is legitimising colonialism in Australia. Colonialism and the agricultural appropriation of land has had a devastating impact on the Indigenous people of Australia. The philosophy of
clearing and killing anything native for the sake of economic progress remains deeply ingrained in the past and present day dominant agricultural industries, as well as the political mindset of Australians.
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The Vixen Huntsman
Medium: Oil Paint on Canvas and Merino Wool Felt
‘The Vixen and The Huntsman’ is an exploration and critique of the wool industry and the British Red Coats. The image explores the metaphorical and cultural meaning behind the red coat in terms of power and colonialism. Colonialism was justified by the assertion that colonisers had a legal and religious obligation to take over the land and culture of indigenous peoples. Conquering nations cast their role as civilizing ‘barbaric’ or ‘savage’ nations arguing they were acting in the best interests of those whose lands and peoples were exploited. The 'invaders' initially ‘befriended’ the Indigenous people bestowing them with red coats as a symbol of friendship. However the purpose of the coat was a tool employed by the colonisers to civilise, dominate and overpower.
Ambushed
Medium: oil paint, chalk and acrylic
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‘Ambush’ portrait is the exploration of colonialism, based on a portrait of familiar Australian and well-known actor David Gulpilil. The portrait is first painted over tape, once the paint had dried sections of the tape were removed to represent how the Indigenous people were stripped of land and culture. Ripping away sections, reflects the lack of power and control inflicted on Indigenous people and their dispossession. Aboriginals were forced off their land so new settlers could establish it as their own valuable source of capital. What the settlers had taken was represented and replaced in the image with chalk, as it as useful as dust. The landscape constitutes a lack of belonging or identity. The oil colours used are those taken from the earth, made from natural pigments and minerals found in the soil.
Walking Between Two Worlds
Medium: Weave Merino wool
The pattern of the weave is the landscape of the farm and surrounding farms and fields where I worked during the summer of 2022. Woven in Australian merino wool, as Australia is the largest exporter of wool into the UK and during the colonial period Merino sheep made up a vast majority of agricultural land. The use of Merino wool highlights the impact of wool exports into UK and effects on UK sheep farming and the effects of colonialisation on the Aborigines. As with the painting Ambush, the yarn is spun and woven in Aboriginal Colours, to represent the aboriginal land.
Charkha Mule
Medium: oil canvas on board, Canvas with Electric turning wheel
Charkha Mule explores the history and lives of women influenced by the wool trade. During the English manufacturing era spinning was an essential income-generating activity pursued by women. It was not uncommon for spinners to work shifts of 16 hours per day. Wool was at the foundation of England’s rise to pre-eminence in international trade and one of the principal sources of wealth.
