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
Patricia Piccinini - Early Installations by Peter Hennessey
The NESS Project and the Birth of Truck Babies by Hiroo Yamagata
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
Eulogy 2011
The Lovers 2011
The Welcome Guest 2011
The Observer 2010
Aloft 2010
Balasana 2009
The Gathering 2009
Perhaps the World is Fine Tonight 2009
Bottom Feeder 2009
Not Quite Animal 2008
The Long Awaited 2008
The Foundling 2008
Big Mother 2005
Bodyguard 2004
Sandman 2003
The Leather Landscape 2003
The Young Family 2002
Still Life With Stem Cells 2002
Swell 2000
The Breathing Room 1999
Truck Babies 1999
Truck Babies

by Patricia Piccinini (1999)

The idea for Truck Babies came to me while on a long road trip in the United States; driving from New Orleans to Niagra falls. During that time I became very familiar with the trucks that thundered by me on the road, after a while they seemed like giant whales, the only real 'wildlife' that I saw on my journey. In fact, when I did see deer, they were the ones that seemed artificial or out of place. I began to distinguish between the trucks; I could nominate which family (fleet) they belonged to, I could distinguish their features (customising). It wasn't long before I asked the question - where are their babies and what do they look like? This was the birth of Truck Babies.

The Truck Babies are infantile not miniature; they have big cheeks and fat bottoms, little wheels and lovely big eyes. They are what I imagined to be the off spring of the big trucks that I saw on the road. I examined the relationship between babies and fully-grown animals and people and applied these developmental changes backwards to the trucks.

I also went in search of a context for the Truck Babies; their family. I found them in Tokyo in the young techno street-wise and fashion-conscious teenage girls of the city. I was excited by how these girls, in many ways powerless in mainstream society, can manage to create a sort of power for themselves. In these girls I saw an awareness of the temporal nature of ideas - fads. They embrace new technologies and new ideas, knowing all the time that these ideas, like their own youth will not last for ever. In the installation these girls continuously give advice to the fledgling Truck Babies on how to grow up in a world of compromise and still find a kind of integrity for yourself.

One of my interests for the work was to take something as frightening and unfriendly as a truck and turn it into something that is cute, desirable and seductive. In the same way, consumer culture creates the beauty and desire that blinds you to the pollution and other problems of the industry and economics that lie behind it. Trucks and cars represent for me the archetypal example of this process where contemporary consumer culture conjures desire out of nothing more than glossy surfaces and shiny chrome. The Truck Babies illustrate my own ambiguous feelings towards this process; where I see and enjoy this beauty as much as I condemn it. Truck Babies is a cute work, full of humour, but at the same time quite serious. It asks questions about the 'nature' of contemporary society - and the increasingly strange and confused relationship between what we see as 'natural' and 'artificial'. It asks whether we can any longer simply draw a line separating animals and machines, and where we stand in between the two. The work also talks about the seductive nature of consumer culture, attempting to find a position that is both positive and critical.