Best quotes by Patricia Piccinini

Patricia Piccinini

Patricia Piccinini


Patricia Piccinini is an Australian contemporary artist known for her thought-provoking and often surreal artworks that explore the boundaries between nature, technology, and humanity. Born on February 9, 1965, in Freetown, Sierra Leone, she later moved to Australia and developed a unique artistic voice that challenges traditional notions of beauty and the familiar.

Piccinini's works frequently feature hybrid creatures and characters that blur the lines between real and artificial, organic and synthetic. Her sculptures, installations, and digital pieces evoke both fascination and discomfort, prompting viewers to question their perceptions of the natural world and the impact of scientific advancements.

With a background in economic history and drawing, Patricia Piccinini's artistry is informed by her keen observation of societal changes and their implications. She addresses ethical and moral dilemmas surrounding biotechnology, genetic engineering, and the potential consequences of playing with the boundaries of life.

Throughout her career, Piccinini's works have been exhibited globally in prestigious museums, galleries, and biennials, earning her international acclaim. Her thought-provoking art prompts discussions on subjects such as bioethics, the relationship between humans and machines, and the consequences of rapid technological progress on our sense of identity.

By challenging conventional aesthetics and engaging with complex themes, Patricia Piccinini continues to inspire audiences to reflect on the ever-evolving relationship between humanity, technology, and the natural world.

Patricia Piccinini quotes by category:

All CategoriesAbout successAbout beautyAbout peopleAbout natureAbout scienceAbout lifeAbout artAbout Work EthicAbout RespectAbout CreativityAbout ExpressionAbout DreamsAbout ImportanceAbout ResilienceAbout StruggleAbout UnderstandingAbout AuthenticityAbout PerceptionAbout RelationshipsAbout EmpathyAbout EmotionsAbout AmbiguityAbout ConnectionAbout CareerAbout HumorAbout ChangeAbout Film IndustryAbout Decision-MakingAbout High SchoolAbout JoyAbout AppreciationAbout Time ManagementAbout AgingAbout WorkAbout Childhood MemoriesAbout FutureAbout IdeasAbout LightAbout ImaginationAbout CommunicationAbout Artistic ProcessAbout AcceptanceAbout FamiliarityAbout Patricia PiccininiAbout TechnologyAbout CultureAbout EngagementAbout LimitationsAbout PracticeAbout ThinkingAbout CollaborationAbout QuestioningAbout MultitaskingAbout SubjectivityAbout IronyAbout InterpretationAbout PhotographyAbout MediaAbout ArtistsAbout PaintingAbout SkillsAbout OwnershipAbout LongevityAbout StabilityAbout QualityAbout Creative ProcessAbout OrganizationAbout Collecting

NaturePerceptionEmpathyFamiliarityI think people perceive my creatures as absurd because they look different, but at the same time, they are a little bit familiar. I want people to feel a kind of empathy with them. When you think about it, all nature is kind of strange looking.. in fact, I'm a strange a looking creature.

PeopleRelationshipsMy practice is focused on bodies and relationships; the relationships between people and other creatures, between people and our bodies, between creatures and the environment, between the artificial and the natural.

Artists make worlds for people to walk through.

WorkPatricia PiccininiMost of the work I make uses materials that are a bit outside of the traditional fine art world.

ВзаємовідносиниUnderstandingTechnologyCultureHow does contemporary technology and culture changes our understanding of what it means to be human. What is our relationship with - and responsibilities towards - that which we create.

IdeasEngagementThe illusion of life is crucial for the work, otherwise the ideas wouldn't be able to jump across, people wouldn't engage with it.

ДумкиArtCreativityEmotionsI work with whatever mediums seems best suited to evoking the sorts of thoughts and emotions I am interested in playing with.

ArtCreativityIdeasImaginationLimitationsI don't want the ideas to be limited by what I can physically do. The ideas come first.

ScienceArtTechnologyPracticePerhaps because of this, many have looked at my practice in terms of science and technology, however, for me it is just as informed by Surrealism and mythology.

ChangeI am particularly interested in the way that the everyday realities of the world around us change these relations.

CommunicationThinkingCollaborationThinking is a social process. I talk to everyone from children to anthropologists and philosophers. I try my ideas out on people and they talk back to you. That's how ideas get formed.

In the studio we use a pretty wide range of materials for the sculptures; silicone, fibreglass, human and animal hair, ABS plastic, dental acrylic, traditional and high-tech plasters, stainless steel, automotive paint, plywood, Britannia metal, found objects and taxidermy animals.

WorkIdeasIdeas rather than methods are central to they way I work, although drawing plays a central generative role in everything I do.

The idea that we can have a new life form, what does it say about the zoo's main purpose, which is to preserve life? What does it say when the artificial and real animal can have the same attraction to people?

ArtHumorI certainly don't see the humour in my work as something that detracts from its seriousness. It's just a way of making difficult messages more palatable.

ArtFutureIn one hundred years time people will look back and think 'these people were really worried about the environment, they were looking at things to do with global warming, and this is why they were making work about these issues'.

Сумніви AgingQuestioningAs we get older, our world gets smaller and we start to doubt and question. We are really suspicious of difference.

Artistic ProcessMultitaskingI usually have several things on the go. Whether it is my own drawings for the next work that I am working on while a sculpture is being fabricated or several works at different points in production.

ArtCreativityAuthenticityI would say my work is anti-ironic.

ArtCreativityPerceptionSubjectivityI don't set out to make something that is repulsive and that would scare people. I know that some people don't like what I make, and don't find it cute, but that's hard for me to understand.

ArtWorkIronyI feel that there's hardly any irony in my work; if there's anything, there'll be sincerity, which people sometimes find hard to deal with.

ArtIt's interesting to work with what's important today, which is meaningful for our everyday lives.

LifeStruggleJoyI struggle in life to find a sense of joy in things.

ArtEmotionsQuestioningInterpretationI don't think 'Dark Heart' has to be malevolent. It conveys a sense of depth. There is a sense of questioning turmoil.

РекламаPhotographyI started thinking of digital imaging, not photography, in 1994 as it seemed the most appropriate way to deal with ideas of biotechnology and advertising. My practice is conceptual.

BeautyAmbiguitySkywhale is ambiguous. I think she is beautiful, but a lot of people think she is grotesque. You are drawn in and repelled at the same time, and it has to have that dynamic. My work has a certain element of abject mutation, uncertainty and darkness. Even she is dark - I mean she has ten breasts.

SuccessArtCreativityHumorJoyIf there are moments in my work when people find joy and humour, that's a real success for me.

High SchoolPatricia PiccininiI have been interested in visual arts since high school and, after realising that I had absolutely no interest in the economics degree I had undertaken at ANU, I started a BFA in Sydney which I completed at VCA in Melbourne.

ArtExpressionIdeasPhotographyMediaI use whatever media I think will best express my ideas and therefore I don't have a lot invested in the idea of photography specifically. I am more interested in Art.

PerceptionAcceptanceQuestioningIt's much easier to do something that's seen as being serious because people accept it right away, they don't question what you do, they just accept, because they think you must be right.

ArtCreativityImportancePatricia PiccininiMaterials are very important to me, and always have been.

Film IndustryArtistsWe tend to be talking to fabricators in the film and special effects or automotive customisation worlds. That having been said, I'm sure as more and more artists come to use these sorts of media, the expertise amongst conservators is going to keep pace with that.

AppreciationThe way we look at nineteenth-century English social realism and appreciate the working classes of the emerging industrial revolution.

ConnectionI don't connect accessibility with lowest common denominator.

ArtResilienceCareerI finished VCA at the height of the last big recession in the early 90s, and seeing that I was not going to be able to join one of the dwindling number of commercial galleries, I started an ARI called the Basement Project which ran for three years. Things came a little at a time and all of a sudden it's 20 years later and I'm still making art, which is really all I ever wanted to do.

DreamsChildhood MemoriesA child came up to me and asked 'am I dreaming?' I had a similar experience coming to the Art Gallery of South Australia when I was a child. My mum had done a workshop here and it stayed with me. It's an important formative time.

LightPhotographyPaintingSkillsMy Father is a photographer, so it was always around. I was trained in painting, so I learnt a lot of skills about composition, light, colour, the formal attributes of images.

WorkPatricia PiccininiMelbourne is a fantastic place to work, but it's not the centre of the world.

RespectIdeasFor me it is a matter of respect for the ideas in the work and the people who look at them. I absolutely hate it when works come back to the studio for repair, and I try to make sure that they never do.

ArtWork EthicTime ManagementI put a lot of time and thought into my work, which I see as a sort of respect for both the work and the audience, and I have always been very concerned that the materiality of the work reflects that.

ArtImportanceOwnershipLongevityNow that other people have my works, it's really important to me that what they have has longevity.

StabilityWe always use plywood rather than MDF for structural stuff for the same reasons [stability].

ArtCollaborationFor one work we developed a human hair felt, which involved collecting and sorting hundreds of kilos of human hair, and then blending it will a tiny percentage of black merino followed by carding and felting.

I have had sculptures cast in bronze, silver and aluminium. My drawings are all graphite or pigment ink and gouache on paper.

LongevityQualityQuality and longevity are the primary criteria, along with repairability and ease of production.

The studio does a lot of testing before we settle on a system. Unfortunately, this means that price tends to come pretty far down the list.

Patricia PiccininiWe always use resin instead of polyurethane, even though it takes more work and is in places where it can't be seen, because resin tends to be more UV stable than urethane.

We did have one work where it looked like the fibreglass was discolouring, but it turned out it was reacting to the foam it was packed against in storage. We repaired it and sent it back with better packing.

Decision-MakingIn the studio we spend a lot of time working our what materials will work best and also last. We do tests and come back to them years later to see how they are still performing, and this leads our decisions.

Creative ProcessI tend to work towards specific exhibitions, so there will often be a big push towards the end when we're finishing off a bunch of stuff.

ArtCreative ProcessObviously, I don't make an entire edition all at once, so the studio often goes back to produce editions, but that's a bit different. I guess I'm always thinking about the next work.

ArtPhotographyCreative ProcessOf course, all my work is photographed and I also take quite a lot of photographs of work in production.

The studio keeps notes on the details of editions and production processes and the like.

OrganizationI have a database of all my works that I maintain to keep track of works and editions.

OrganizationCollectingI pretty much keep everything; we have drawers full of samples and tests and every old catalogue and magazine.

The silicone we use is the hardest, most UV stable we can get, and we have done enormous amounts of testing and research to get a paint solution that is extremely hardy and repairable.