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
One Night Love by Nikos Papastergiadis
Patricia Piccinini: Ethical Aesthetics by Jacqueline Millner
Interview with Patricia Piccinini and Peter Hennessey by Daniel Palmer
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
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

by Patricia Piccinini (2018)

The idea that we, as humans, are uniquely and fundamentally different from other animals is a cornerstone of how humans have traditionally seen themselves. It is this specialness that allows us to exploit the environment and other beings around us so completely. The idea that humans are essentially different from the environment and other animals is part of the reason why we are willing to cut down vast tracts of rainforest to plant cheap cash crops like palm oil. While some people benefit from this, most other animals do not. Orangutangs are amongst those animals most threatened by this deforestation.

However, this idea of fundamental difference is not actually so real. Both genetic analysis and observation is now showing how small the difference is. We see common DNA everywhere, and common behaviours in many other animals, especially primates. Like us, Orangutan mothers keep their children close and educate them for many years. They are perhaps our closest primate relative. For me, this is not about anthropomorphising Orangutangs. It is about acknowledging our common animalness.

In this work we see three unique individuals each set at a different point on a continuum of greater or lesser ‘animalness’. Each of these figures is a hybrid, but all are both unique and connected. The mother is closest to the primate inspiration, and you might even imagine that she is a rendering of a true orangutang, but her features are actually much closer to ours. Her two children each look increasingly human, both somewhere between her and us. However, the point is not their differences but their connection. They all share the same hair and eyes, but more than that they share an obvious bond, and they all look in the same direction: outwards, to us and to the future.