Patricia Piccinini’s relates to this area most significantly as her works are founded upon the blurred distinction between nature and technology, the artificial and the natural. This persistent theme is created through the materials and technologies this artist employs. These aesthetics used by the artist has been said to be what makes her work so compelling, as she is able to develop an ethical position on the changing definitions of life and nature in our growing technological world (Millner 2001). As seen through the works below Piccinini takes many ethical standpoints on a variety of issues. The artist has been said to be interested in the many ways that society confronts ethical issues surrounding technological intervention (Piccinini, 1999). Piccinini’s work touches on Eleanor Heartney’s ideas of ethics and identity, with human kinds desires to intervene with nature raises questions of “what it means to be human? Is there a point where human kind will no longer exist?” (Heartney p. 187)
Ultimately, Piccinini’s works evoke questions about our world; through her investigation of issues such as genetic manipulation and engineering, plastic surgery and technological intervention. This exploration unfolds some very complex issues in her works surrounding these ideas as seen in the works below. Piccinini does not claim to represent the answers to these questions merely to reflect the reality and the truths of our complex time.
Piccinini clearly illustrates in her art that she urges us to bring an attitude of acceptance and love to the creatures of technology and take responsibility as their creators. This love is almost a maternal love of "responsibility, ethical guidance and life- long commitment"(Millner, 2001). This is evident in the work the young family 2002 that explores society’s acceptance of these creatures, the reality of growing human organs in animals.
1. Piccinini, Patricia, The Young Family, 2002. silicone, polyurethane, leather, human hair.
The work Protein Lattice, 1997 highlights many concerns in regard to the ethics of technology. The model and rodent in the photograph both stand as products of nature and technology and Piccinini sees them both as beautiful and freakish (Hennessey, 1997). This work highlights the hopes and desires we place on technology for the future.
2. Piccinini, Patricia, Subset - Red Portrait, 1997 – Protein lattice. Type c colour photograph, 80 × 80cm Edition of 6
Plasticology 1997/2000 addresses the issue of the definition of what society considers natural. This work reiterates how plastic the natural world has become. The connection between the environment and humankind has been blurred and one has become immune to the work of sound effects, television and visual digital manipulation.
3. Piccinini, Patricia, Plasticology, 1997/2000. interactive video installation
57 TV monitors, motion-sensors and computer digital modelling and animation.
Resources
Millner, Jacqueline, “Love in the Time of Intelligent Machines,” Artlink 21, no. 4 (2001), 44, http://search.informit.com.au.ezproxy1.library.usyd.edu.au/fullText;dn=200200351;res=APAFT (accessed 27 March 2009).
Enburg, Juliana, Retrospectology: the world according to Patricia Piccinini. (Southbank, Vic: Australian Centre for Contemporary Art, 2002), 3.
Hennessey, Peter.” Patricia Piccinini: plastic realist”. Photofile, no.52, Nov 1997: 22-29. http://search.informit.com.au.ezproxy1.library.usyd.edu.au/ [accessed 17 May 09].
Heartney, Eleanor. Art and Today: Phaidon press limited, 2006
PatriciaPiccinini. “Patricia Piccinini”, www.patriciapiccinini.net (accessed May 12, 2009)
Micheal, Linda. “We are family.” www.patriciapiccinini.net (accessed may 12, 2009)
Piccinini, Patricia. “Artist statement.” www.patriciapiccinini.net (accessed may 12, 2009)
Millner, Jacqueline. “Patricia Piccinini: Ethical Aesthetics.” Artlink, (2001), www.patriciapiccinini.net
Image references
1. Piccinini, Patricia, The Young Family, 2002. silicone, polyurethane, leather, human hair. Reproduced from Roslyn Oxley9 gallery, http://www.roslynoxley9.com.au/artists/31/Patricia_Piccinini/ (accessed 16 May, 2009)
2. Piccinini, Patricia, Subset - Red Portrait, 1997 – Protein lattice. Type c colour photograph, 80 × 80cm Edition of 6. Reproduced from Roslyn Oxley9 gallery, http://www.roslynoxley9.com.au/artists/31/Patricia_Piccinini/ (accessed 16 May, 2009)
3. Piccinini, Patricia, Plasticology, 1997/2000. interactive video installation
57 TV monitors, motion-sensors and computer digital modelling and animation. Reproduced from Roslyn Oxley9 gallery, http://www.roslynoxley9.com.au/artists/31/Patricia_Piccinini/ (accessed 16 May, 2009)
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