Kim Toffoletti: Outskirts online journal: The University.
Patricia Piccinini’s sculptures of hybrid creatures question the implications of biotechnologies and humanity’s encroachment into “natural” processes. Expanding the hyperrealist tradition in sculpture, Piccinini uses an array of materials—including silicone, leather, and human hair—to form beings that might result from genetic science. Beasties with soulful brown eyes and long ears.
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On Patricia Piccinini Nothing should work about the art of Patricia Piccinini. Her special effects mutation sculptures ought to be kitsch, their appeal to the post-structuralist theories of gender, identity and biology politics ought to obscure any deep felt response and their confrontinal transgression (or at the very least the fact that you can use such a phrase about them) should set off.
Patricia Piccinini. Exploring concepts of what is “natural” in the digital age, Patricia Piccinini brings a deeply personal perspective to her work. Rachel Kent notes: “Since the early 1990s, Piccinini has pursued an interest in the human form and its potential for manipulation and enhancement through bio-technical intervention. From the mapping of the human genome to the growth of human.
Interpretive resource This interpretive resource is designed for teachers and others to use in conjunction with exhibition visits. It is intended for use across all levels. Piccinini’s work has inspired writers, and commentators to engage with the ideas raised in her artmaking. A number of valuable reference sources are listed below. In particular, Piccinini’s website contains a.
Patricia Piccinini was born in Sierra Leone in 1965. Her mother was a history and English teacher at a girls school and her father was a builder. The family had made their life in the West African.
Patricia Piccinini, artist, 49. Other-worldly: Patricia Piccinini in her studio with one of her sculptures. Picture: James Geer. TWAM 28 Feb 2015. Verity Edwards. 3:11AM February 28, 2015; Share.