Publications
Embrace the Unknown: Patricia Piccinini and the Aesthetics of Care by Dea Antonson
“Your Place Is My Place.” Rosi Braidotti in conversation with Patricia Piccinini by Rosi Braidotti and Patricia Piccinini
Curious Affection by Peter McKay
Just Because Something Is Bad, Doesn't Mean It Isn't Good by Basak Doga Temur
Speculative Fabulations for Technoculture's Generations by Donna Haraway
The Naturally Artificial World by Laura Fernandez Orgaz and Patricia Piccinini
In Another Life by Patricia Piccinini
Border Patrol by Stella Brennan
We Are Family: Patricia Piccinini at the 50th Biennale of Venice by Linda Michael
Curatorial Essays
Between the Shadow and the Soul by Anna Mustonen
Some thoughts about my practice by Patricia Piccinini
Life Clings Closest by Patricia Piccinini
Patricia Piccinini & Joy Hester: Through Love by Victoria Lynn
The Shadows Calling by Patricia Piccinini
Those Who Dream by Night by Patricia Piccinini
Public Lecture - Tokyo Art University by Patricia Piccinini
Patricia Piccinini's Offspring by Peter Hennessey
Fast forward: accelerated evolution by Rachel Kent
Modified Terrain by Mark Feary
Autoerotic by Amanda Rowell
One Night Love by Linda Michael
Atmosphere by Juliana Engberg
Biopshere by Edward Colless
The NESS Project and the Birth of Truck Babies by Hiroo Yamagata
Patricia Piccinini - Early Installations by Peter Hennessey
Plastic Life: Patricia Piccinini & Christopher Langton by Jacqueline Millner
Artist Statement by Patricia Piccinini
The Breathing Room by Victoria Lynn
Articles
One Night Love by Nikos Papastergiadis
Patricia Piccinini: Ethical Aesthetics by Jacqueline Millner
Interview with Patricia Piccinini and Peter Hennessey by Daniel Palmer
Interviews
We are all connected by Una Meistere
Interview for Fine Spind Denmark by Sophie Normann Christensen and Patricia Piccinini
Interview with Pauline Bendsen for Jyllands-Posten (Denmark) Jan 21, 2019 by Pauline Bendsen and Patricia Piccinini
Interview with Alvaro Fierro for JOIA Magazine 49 (Chile) 2018 by Alvaro Fierro and Patricia Piccinini
Interview with The Condition Report by Patricia Piccinini and The Condition report
Patricia Piccinini interviewed by Jane Messenger by Jane Messenger
Artist Statements
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We Travel Together 2021
Chromatic Balance 2019
Shoeforms 2019
Sanctuary 2018
Kindred 2018
The Loafers 2018
The Couple 2018
The Field 2018
The Bond duplicate 2016
The Bond 2016
Some thoughts about Embryo 2016
The Rookie 2015
Bootflower 2015
Meditations on the continuum of vitality 2014
Six observations about The Skywhale 2013
The Fitzroy Series 2011
The Lovers 2011
The Welcome Guest 2011
Eulogy 2011
Aloft 2010
The Observer 2010
Balasana 2009
The Gathering 2009
Perhaps the World is Fine Tonight 2009
Bottom Feeder 2009
Not Quite Animal 2008
The Foundling 2008
The Long Awaited 2008
Big Mother 2005
Bodyguard 2004
Sandman 2003
The Leather Landscape 2003
The Young Family 2002
Still Life With Stem Cells 2002
Swell 2000
Truck Babies 1999
The Breathing Room 1999
We Travel Together

by Patricia Piccinini (2021)


We Travel Together is a work that talks about the kinds of relationships that humans might be able to have with a post-natural world.

The film follows a young woman as she moves through the kinds of diverse landscapes that makes up the nature in the contemporary world. Along the way she encounters and connects with a strange little creature, and they travel together for a time.

Nothing in the film tells you where the strange little creature comes from. But, to be honest, that doesn’t really matter. What matters is the relationship they build together. There is no possibility of a return to original nature, we must build new relationships with the world and the organisms that currently surround us.

Filming this work was a great experience. Peter and I worked with director Rhys Graham and cinematographer Alex Cardy to shoot it. My son Hector came along as the camera assistant and Dennis did the computer graphics. We shot it after lockdown and it was amazing being on the salt lake at 5am after so many months in our house. I’ll never forget being in the bush when five emus walked by us. We asked Jillian, the actor, to just follow them and Alex grabbed the camera and followed her. I can’t help smiling when I see those emus in the film, they were a total gift from nature.

The song in the middle is a favourite of mine by Cloud Control, who were kind enough to let us use it. To me it’s just how falling in love feels: It’s great but it’s not simple.

My idea for the work was to show the story of a relationship between a human and a more than human, artificial animal that is tender. I wanted to show a real connection between the two, depicting a kind of love. It’s also about finding a kind of beauty in the post-natural landscapes, and the way that even in the most devastated places, life will begin to return, if we let it.

This film depicts a kind of love story. And with love, one of the hardest things you sometimes have to do is let someone go. That’s what the woman does, she realises that even this creature, that is human-made, needs it’s own space. I think this is a really important moment, because it depicts a person doing something for the sake of another animal rather than themselves. The woman’s life is better with her strange little companion, but it doesn’t need her. It needs something else. That is what humans find so hard: doing something to make the world better for others when it makes things harder for us. The woman cares enough about the creature to put its interests above her own. That does make her special.

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