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401:, Piccinini created the exhibition "A Miracle Constantly Repeated", which was her first extensive hometown show in almost two decades. The exhibition ran from May 2021 until June 2022, as a result of delays resulting from COVID-19 lockdowns, as well as high demand. Taking place in the Flinders Street station ballroom, and consisting of a combination of hyper-real silicone sculptures, dioramas, video, sound and light, the exhibition explores humanity’s relationship to technology and the environment, and conveys Piccinini's empathetic vision of a future built on resilience and care.
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245:"Stems cells are base cellular matter before it is differentiated into specific kinds of cells like skin, liver, bone or brain. Pure unexpressed potential, they contain the possibility for transformation into anything. They are the basic data format of the organic world. Like digital data, their specificity lies in that, while they are intrinsically nothing, they can become anything. They are biomatter for the digital age.
419:”. The only reason I make art is to be a part of the cultural conversation around what is happening to us in our lives. Every single work I make is around that and that’s the value in the work. I don’t think that I could make work just about me and my own emotional issues. I mean, my emotional issues are certainly my own brand that informs how I look at the world but my art is not about my personal history.
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359:, highlights how vulnerable the human body is to the forces involved in auto accidents. As the TAC explains: "Graham highlights the changes we need to make to protect ourselves from our own mistakes on the road. At the centre of this system is the belief that human health is more important than anything else, he is the embodiment of the Towards Zero vision."
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is liberation from modern practices such as genetic engineering and animal farms. For example, Piccinini engaged in the theme of surrogate motherhood, and inter-species relationships to convey environmental turmoil. The surrogacy invokes concerns in regards to scientific exploitation, and rejects the idea of a normative human species.
133:, Sierra Leone) is an Australian artist who works in a variety of media, including painting, video, sound, installation, digital prints, and sculpture. Her works focus on "unexpected consequences", conveying concerns surrounding bio-ethics and help visualize future dystopias. In 2003, Piccinini represented Australia at the 50th
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was a work commissioned by the ACT Government for its
Centenary year. The ABC described the work as a "hot air balloon in the shape of a tortoise-like animal featuring huge dangling udders made from four hectares of nylon". The budget for the project was $ 300,000 and has been the subject of comments
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This transformation has already occurred, with very little fuss given its magnitude. The question of whether this is a good or a bad thing is both too simplistic and a little academic. As with so much of this biotechnology, the extraordinary has already become the ordinary. The real question is 'what
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Patricia
Piccinini's works have been closely associated with and interpreted as post-human due to their subjects. The depiction of vulnerability through themes of mutation, reproduction, motherhood, and childhood explores the economy of death. Her work affirms that posthuman ideology and femininity
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In the May 2017, Artforum featured
Piccinini; professor of contemporary art Charles Green commented on Piccinini’s style of hyperrealism. In his review, Green acknowledged the “unfashionable” hyper-real style associated with the late 60s and commended Piccinini for putting her own spin on it. Green
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says
Piccinini's work is loving and heals wounds of divisions: "In profound ways, Piccinini's artistic practice calls to the spectator to consider a new way of being, a new form of opening out an embracing difference, through new ways of looking ... that encourages us to look alongside and with her
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Piccinini never truly states what her personal beliefs are, most of the time opting for ambiguity. She uses her art as a forum for viewers to project their own beliefs on and start discussions. The grotesque visuals and themes offer a sense of fantasy; the controversial world she created encourages
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The thing about this award on some levels is that my work ... all of it has this first impact, the sort of impact of spectacle. It's beautifully made, strong, aesthetic, so people are interested in that and it draws them in, and then they get interested in the idea. It takes a while to get to the
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I am interested in how this changes our idea of the body. Already our understanding of the human genome leads us to imagine that we understand the construction of the body at its most intimate level; the stem cell provides us with a generic, plastic material from which we can construct it. In the
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Before finding the medium of sculpture, Piccinini experimented with world-building through photography and digital enhancements. ‘The Mutant Genome
Project’ (1995), features commercially available designer babies called LUMP (Lifeform with Unevolved Human Properties). Her ‘Protein Lattice’ (1997)
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Piccinini has an ambivalent attitude towards technology and she uses her artistic practice as a forum for discussion about how technology impacts upon life. She is keenly interested in how contemporary ideas of nature, the natural and the artificial are changing our society. Specific works have
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Australian art critic John McDonald gives two reasons for disliking
Piccinini's body of work: her method of employing artisans to create her designs: "The problem with this method is that the artist's role becomes that of a factory manager." and her engagement with issues such as cross-species
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Patricia
Piccinini: curious affection. 2019. Content – Arts Minister's message / Leeanne Enoch. Foreword / Chris Saines. Patricia Piccinini : curious affection / Peter McKay. Affirmation and a passion for difference : looking at Piccinini looking at us / Rosi Braidotti. Lines in the
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However, she has publicly stated that she is a feminist. In an interview with Jaklyn
Babington, formerly Senior Curator at the National Gallery of Australia, Piccinini stated that she is "incredibly interested in nurturing and care and the way that has been marginalised as 'women's work' in
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In 2019, the
National Gallery of Australia with the assistance of the Balnaves Foundation commissioned Skywhalepapa for the Skywhales: Every Heart Sings project. This work is a companion to the female Skywhale, although they are not necessarily mates. Piccinini has stated that she created
307:, Piccinini said of her work, "It's about evolution, nature – how nature is such a wonderful thing, we're just here to witness it, it's not here for us – genetic engineering, changing the body." Following her 2014 win in the Melbourne Art Foundation's Awards, she went on to say that:
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named
Piccinini with her "grotesque-cum-cute, hyper-real genetics fantasies in silicone" the most popular contemporary artist in the world after a show in Rio de Janeiro attracted over 444,000 visitors. Natasha Bieniek's portrait of Piccinini was a finalist for the 2022
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included a new site specific work 'Sanctuary': combining a sculpture of a pair of embracing anthropomorphic bonobo figures of silicone, fibreglass and hair; with a drawing on paper and digital wall print of multiple human limbs forming a horizon.
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relationships: "Given the current state of the planet, in which political leaders are allowing the most blatant forms of racism and ethnic tension to become normalised, Piccinini's interspecies fantasies seem horribly far-fetched."
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To me, art is really about having a conversation with others around ideas that are relevant and pertinent to our times. In the 90s, making art around big ideas wasn’t as common and people were suspicious and would be like,
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idea. It's not easy. So this award says, "We get it, we get what you're trying to do, we've gone beyond the surface, we can see that there are ideas underneath, and these ideas are about the opportunity for connection".
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viewers to think. The idea that art should come from the artist's personal experience is completely disregarded. In an interview with Dr. Louisa Penfold in 2020 about her ‘Art in Childhood’ series, Piccinini stated:
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addressed concerns about biotechnology, such as gene therapy and ongoing research to map the human genome... she is also fascinated by the mechanisms of consumer culture."
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ARKEN Museum of Modern Art, 2019. Content – Foreword / Christian Gether. Embrace the Unknown: Patricia Piccinini and the Aesthetics of Care / Dea Antonsen. Your Place Is My Place /
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experiment in 1996. The experiment formed a human ear on a rat. The research’s objective was to learn more about cells, and how humans can possibly regrow body part.
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series features nude models posing with computer-generated mutant rats. The two series explored the commercial side of science and brought up the question of ethics.
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patriarchal society. I believe that in a feminist world, nurture and care should be at the forefront of our minds and not limited by gender or anything else."
263:'The Long-Awaited' (2008) was a later work attempting to explore the theme of empathy through a lifelike sculpture of a child cradling a manatee-human hybrid.
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847:"Artist Patricia Piccinini honoured with lifetime achievement award – Books and Arts – ABC Radio National (Australian Broadcasting Corporation)"
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In 2002, Piccinini presented 'Still Life with Stem Cells', which features a series of flesh-like masses. As she herself says:
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reasoned that by creating an intriguing narrative Piccinini was able to make hyperrealism appealing to the general audience.
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260:. The work exhibited was 'We Are Family', an exhibition which displayed humanlike mutant figures behaving like humans.
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sand : a science writer comes to terms with Patricia Piccinini / Elizabeth Finkel. Familiar / China Miéville.
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last ten years, the body has gone from something that is uniquely produced to something that can be reproduced.
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Barbara Creed, 'Entangled looking : The crisis of the animal', Artlink vol 38, no 1, March 2018, pp8-22.
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861:"Skywhale not dead yet: ACT Chief Minister's radio gaffe – ABC News (Australian Broadcasting Corporation)"
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commissioned Piccinini to work in collaboration with Dr. David Logan, a senior research fellow at the
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In 2014 she received the Artist Award from the Melbourne Art Foundation's Awards for the Visual Arts.
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Skywhalepapa because she "thought it might be wonderful to present an image of a masculine carer; a
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1105:"Patricia Piccinini Is Taking Over The Flinders Street Station Ballroom For RISING Arts Festival"
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Mondloch, Kate. A capsule aesthetic: feminist materialisms in new media art. Minnesota, 2018.
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along with his offspring" and that she "wanted to celebrate the evolution of fatherhood".
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in 1991. In 2016 she was awarded an honorary Doctorate of Visual and Performing Arts by the
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are we going to do with it'. Still life with Stem Cells is one possible answer."
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SMH ‘A wonderful thing’: what inspired Patricia Piccinini’s biggest creation yet
1287:"Loving Monsters: The Curious Case of Patricia Piccinini's Posthuman Offspring"
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Smith, Terry (September 2011). "Currents of world-making in contemporary art".
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in conversation with Patricia Piccinini. CRISPR and Emergent Forms of Life /
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715:"Patricia Piccinini: The Mutant Genome Project, 1995 - Roslyn Oxley9 Gallery"
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572:"Archibald Prize Archibald 2022 work: Patricia Piccinini by Natasha Bieniek"
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Piccinini was born in Sierra Leone in 1965 to Teodoro and Agnes Piccinini.
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355:'s road safety campaign Towards Zero. "Graham", a lifelike, interactive
330:: a 2016 sculpture for the TAC's public safety campaign 'Towards Zero'.
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1130:"Flinders Street Ballroom opens up for Patricia Piccinini's art show"
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that’s not real art because it’s not pure, it is sullied by real-life
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189:. Later she completed a Bachelor of Fine Arts in Painting at the
597:"Teodoro Piccinini Death Notice – Melbourne, Victoria | The Age"
689:"2014 Awards Winners Announced | Melbourne Art Foundation"
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According to her 2002 National Gallery of Victoria biography:
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sculpture of her distinctive anthropomorphic animals. In 2016
879:"Skywhale creator Patricia Piccinini wins national art prize"
819:"Patricia Piccinini – Artist Profile – Roslyn Oxley9 Gallery"
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A capsule aesthetic: feminist materialisms in new media art.
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Feature profile of Patricia Piccinini in Sculpture magazine
740:"Explore the work of Australian artist, Patricia Piccinini"
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In 2015 she presented as part of a group exhibition titled
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at the Australian Centre for Contemporary Art, Melbourne.
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made by ACT Chief Ministers Jon Stanhope and Andrew Barr.
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Green, Charles. "Patricia Piccinini: Tolarno Galleries."
924:"Sculpture to challenge Victorians' road safety attitude"
744:
Explore the work of Australian artist, Patricia Piccinini
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After high school, Piccinini began studying economics at
1003:. National Gallery of Australia. 2020. pp. 414–415.
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The Protein Lattice series was inspired by the famous
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In 2003, Piccinini represented Australia at the 50th
863:. Australian Broadcasting Corporation. 6 March 2015.
665:. National Gallery of Victoria. 2002. Archived from
165:, Australia when she was 7 years old. She attended
1184:. National Gallery of Australia. 2020. p. 414.
1054:"Patricia Piccinini: A Miracle Constantly Repeated"
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1285:Biscaia, Maria Sofia Pimentel (11 November 2019).
441:creations while reminding us we are all animals."
28:. 2006 sculpture in the 'automotive' works series.
1398:Minneapolis: University of Minnesota Press, 2018.
347:, and trauma surgeon Dr. Christian Kenfield, for
367:The joint exhibition 'Patricia Piccinini &
279:", commissioned for the centenary of Canberra.
1515:Artists from the Australian Capital Territory
1364:Patricia Piccinini : once upon a time ..
1210:"Review Patricia Piccinini Curious Affection"
1157:"Patricia Piccinini: Art in childhood series"
436:Screen studies professor and animal ethicist
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345:Monash University Accident Research Centre
201:and appointed their Enterprise Professor.
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967:. (Victorian) Traffic Accident Commission
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906:"Australian Centre for Contemporary Art"
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1520:People educated at Narrabundah College
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849:. Australian Broadcasting Corporation.
1510:21st-century Australian women artists
1505:20th-century Australian women artists
1495:Australian National University alumni
1261:"Charles Green on Patricia Piccinini"
1155:louisapenfoldblog (28 October 2020).
767:The University of Western Australia.
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1485:Australian people of Italian descent
1475:Victorian College of the Arts alumni
1327:A world of love: Patricia Piccinini.
877:Cuthbertson, Debbie (17 July 2014).
551:"Top ten contemporary shows in 2016"
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1349:Patricia Piccinini: nearly beloved.
1325:Gether, Christian (ed.) ... et al.
1366:. Art Gallery of South Australia.
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1500:20th-century Australian sculptors
1450:21st-century Australian sculptors
635:"Artist keeps mum on lofty theme"
104:Roxy Hennessey, Hector Hennessey
1480:Australian contemporary artists
1029:"A MIRACLE CONSTANTLY REPEATED"
663:"Biography: Patricia Piccinini"
989:. Traffic Accident Commission.
576:Art Gallery of New South Wales
187:Australian National University
77:Australian National University
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1194:: CS1 maint: date and year (
1161:Art. Play. Children. Learning
1013:: CS1 maint: date and year (
773:www.outskirts.arts.uwa.edu.au
303:In a 2014 interview with the
199:Victorian College of the Arts
191:Victorian College of the Arts
16:Australian artist (born 1965)
794:"Still Life With Stem Cells"
521:10.1080/21500894.2011.602712
45:1965 (age 58–59)
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633:Warden, Ian (7 May 2013).
884:The Sydney Morning Herald
798:www.patriciapiccinini.net
397:As part of the inaugural
1380:Queensland Art Gallery.
1362:Messenger, Jane (2011).
373:TarraWarra Museum of Art
171:Telopea Park High School
69:Telopea Park High School
953:. Road Safety Victoria.
823:www.roslynoxley9.com.au
719:www.roslynoxley9.com.au
195:University of Melbourne
177:(a secondary college).
1470:Sierra Leonean artists
1420:Artforum International
965:"TAC latest campaigns"
623:Retrieved 17 May 2024.
601:tributes.theage.com.au
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1490:Hyperrealist artists
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1351:Piper Press, 2012.
1293:(42): 27–46–27–46.
1231:"Review Hyper Real"
930:. 16 September 2016
175:Narrabundah College
73:Narrabundah College
639:The Canberra Times
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116:.patriciapiccinini
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