Her success is a demonstration of the incestuous uncritical sycophantic nature of the cultural intelligentsia. It is sometimes referred to as hybrid arts.
The artist creates an exuberant parallel universe where transgenic experiments flourish and human evolution has given way to genetic engineering and DNA splicing. Working across a Patricia piccinini the young family essay of mediums including photography, video and drawing, she is perhaps best known for her hyperreal sculptures.
As a genre, hyperrealism depends on the skill of the artist to create the illusion of reality. To be truly successful, it must convince the spectator of its realness. Piccinini acknowledges this demand, but with a delightful twist.
The excruciating attention to detail deliberately solicits our desire to look, only to generate unease, as her sculptures are imbued with a fascinating otherness. Part human, part animal, the works are uncannily familiar, but also alarmingly other. With more than 70 works on display, the entire ground floor has been handed over to Piccinini, a first for an Australian artist.
This is Piccinini fully unleashed, at her theatrical best.
|Essay on Patricia Piccinini||We sometimes forget the cost of that journey — how much it takes to truly grapple with alternative landscapes, creatures, or cultures that uncannily tap into the our anxieties. We, however, are left as observers, either thankful for that physical distance from such strangeness, or secretly envious of the child who gets to playfully interact with baby monstrosities.|
|With affection and humour, Patricia Piccinini probes the boundaries of human and other||There are people trying to resist technological advancement as a whole, but I am not one of them.|
|Your Non-Denominational Source for The Weird||These creatures are designed by Patricia and created by teams of sculptors, painters and upholsterers.|
|The Conversation||Briefly describe your career path up to this point.|
|Her success is a demonstration of the incestuous uncritical sycophantic nature of the cultural intelligentsia. Art 'critics' seem more intent in demonstrating their awareness of cultural fashion and scramble to outdo one another in the praise they lavish on an already critically acclaimed artist rather than provide any clear critical analysis of the artist in question.|
Ripstop nylon, shed, air. The artist has created a parallel universe for us to engage with her most recent installations commissioned especially for the exhibition.
The sheer power of endless repetition comes to the fore, as the spectator is engulfed by biomorphic flowers, standing tall on metre-long stems. The ivory white of the flowers glows eerily against the dark gallery space. Titled The Fieldthese uterine shaped ceramic forms, complete with ovaries and fallopian tubes, reach back in history, evoking ancient fertility figures such as the Venus of Willendorf.
A pathway has been forged through the field as the visitor meanders through this teeming world brimming with abundant fecundity. The theme of fertility and reproduction is continued in Kindred An orangutan-like mother gently holds her two babies.
Forms are fluid here, as Piccinini probes the boundaries demarking artificial from natural, human from the posthuman. She leaves us with no easy answers, suggesting the borders are unstable, mutable and in flux.
The experience of looking down and through is accentuated with The Grotto where scores of suspended forms line the walls of a cave-like space. The installations are replete with their own unique soundscapes, creating an additional layer to this immersive, self-contained world.
In one corner rests a vintage caravan. On closer inspection, the viewer is recast as voyeur.
This relationship is rendered compassionately and tenderly by the artist. Piccinini is staging a confrontation that is not always easy or benign for the spectator and it is this disquiet that she is asking us to confront and examine. Pivotal works from throughout her career including The Young Family are on display.
Part pig, part human, the mother suckles her offspring. Silicone, polyurethane, leather, plywood, human hair 80 x x cm Bendigo Art Gallery Collection, Bendigo. RHS Abbott Bequest Fund Courtesy the artist Inspired by advances in genetically modified pigs to generate replacement organs for humans, we are reminded that Piccinini has always been at the forefront of debates concerning the possibilities of science, technology and DNA cloning.
She does so, however, with a warm affection and sense of humour, eschewing the hysterical anxiety frequently accompanying these scientific developments. Beyond the astonishing level of detail achieved by working with silicon and fibreglass, there is an ethics at work here.
Piccinini is asking us not to avert our gaze from the other, and in doing so, to develop empathy and understanding through the encounter.As with all advertising, Piccinini and husband are marketing a product, Patricia Piccinini, and marketing that product with the assistance of the Australia Council very successfully (at the very least in respect to the Australia Council's funding of the Venice Biennale).
from Peter Hennessey's essay title 'Faces only a mother could love: Patricia Piccinini's offspring', in Call of the wild: Patricia Piccinini, exhibition catalogue, Sydney, .
This list was created out of the need to help surround sound enthusiasts, find Multi-Channel SACD Surround Sound recordings. This list does not include information about stereo only SACD's, DSD mastering or Hybrids. Patricia Piccinini Australia VIC b, The Young Family Silicone, polyurethane, leather, plywood, human hair 80 x x cm Bendigo Art Gallery Collection, Bendigo.
RHS Abbott Bequest. The rise of Patricia Piccinini, "The Darling of Australian art" 1, is the defining phenomenon of the Australian art scene in the formative years of the 21st century. Her success is a demonstration of the incestuous uncritical sycophantic nature of the cultural intelligentsia.
In , Patricia Piccinini represented Australia at the Venice Biennale with six sculptural groupings entitled We Are Family (Robertson ). Piccinini is represented by galleries from at least three different countries: Tolarno Galleries and Roslyn Okley9 Gallery in Australia, the Haunch of Venison in New York, Conner Contemporary Art, and. Patricia Piccinini’s Human Animals The Young Family by Patricia Piccinini A friend and I were deep in the tunnels of late-night Internet mining when he sent me a link to the image above. from Peter Hennessey's essay title 'Faces only a mother could love: Patricia Piccinini's offspring', in Call of the wild: Patricia Piccinini, exhibition catalogue, Sydney, .
Piccinini’s installation ‘Aloft’ is a large-scale work weighing kg’s of a young boy peeping over the edge of a large protruding egg sack. The work is constructed from a wide range of materials including fiberglass, felted human hair and wool, steel cable, silicon, horse hair, clothing and electronic motors.