Once We Rode #2

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Once We Rode #2
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This work opens up conversations around the saying ‘’Australia rode on the sheep’s back’’ and references the historic role of the sheep industry in Australia and current sentiment. The first sheep arrived in australia with the First Fleet 1788 and quickly became the first major export industry and a primary source of economic wealth for colonial Australia.

Now, some 200 years on the wool industry is still the backbone of many rural towns, and opinions around the environmental impact, animal welfare issues and industry viability are polarising our communities. In the style of 18th-century European painter Eugene Joseph Verboeckhoven, I have painted a flock of sheep at a drying creek bed, depicting our recent drought in the South West of Western Australia. Contrastingly, the scene is embedded on my daughter's sheepskin baby rug, acknowledging the sustainable natural fibre as a source of warmth & comfort despite the current political discourse.

76 cm x 50 cm x 4 cm
Oil on sheepskin
BIOGRAPHY
Born in 1970, Narrogin, Western Australia.
Lori spent her early childhood on her family's farm at Yilliminning in the wheatbelt of Western Australia, and her early adult life jillarooing on the cattle station of her husband’s family, Wyloo, in the Pilbara, Western Australia. She now farms with her husband on their sustainable agricultural farming property in the south west of Western Australia, Boyup Brook, where her studio is located.
Lori is a nationally recognised artist, having held 29 solo exhibitions, hung in 50 group shows and shortlisted for over 105 awards. Notably, she won the Collie Art Prize 2025; Portia Geach Memorial Portraiture Prize 2024; Kilgour Art Prize, Newcastle Art Gallery 2021; Royal Show Landscape award 2022; Toni Fini Black Swan Portraiture 2018; The Jury Prize 2022 and winner of the Hamersley Iron Landscape awards 4 years running from 1998 - 2001. She has been a finalist in - Dobell Drawing Prize 2023; Salon De Refuse 2022, 2024; Portia Geach Memorial Award 2019-2024; The Alice Prize 2022; Len Fox Award 2000, 2022, 2024.
“My art practice is an exploration of myself, my identity and placement within my family’s multifaceted history. It is illustrated directly from lived experiences on country and my responses to, and relationship with, our landscape. Matrilineal memories within my shared European and indigenous histories in the Australian landscape engages commentary around the simultaneously constructive and destructive relationship between wo(man) and land.
The botanical elements in my work are used as a reflection of personal transformations. I link key positive personality traits of people with ecological characteristics of botanicals to create a distinctive 'language of flowers' as a way of dually expressing inner strengths/virtues. They also seek to create a narrative around our cultural identity and role within our natural world.”LP
In recent workings, Lori has extended Nature-Culture concepts to include installations of found flora, fauna and composite earthen raw materials. Repurposing natural forms found on her farm bushland aids in creating contemporary depth to the painted themes. Regenerating storylines using natural resources seeks to examine the concept of placement. Dually, self placement within family culture, ‘who am I? who has shaped me?’ and the environmental imprinting influencing one's bearing and identity.