Begin with drawing

"Drawing has always been at the core of my practice, at the beginnings of my work. Some of my earliest serious work after leaving art school was drawing. Since then, while my work has not always ended up as drawing, it has always started there, or at least moved through drawing. No matter where it ends ­ sculpture, video, photography whatever ­ my practice begins with ideas and then become drawings. For much of the last ten years, I have primarily used drawing as a way to develop ideas and then to communicate those ideas during the production process. I don’t show these drawings. I don’t personally regard them as art works. They are part of the process; partial, necessary rather than important, more or less resolved ­ literally unfinished.
These drawings are different. They are finished; both in the sense of resolved and polished and in the sense of complete within themselves. They tell small stories and the intimacy of the medium suits the intimacy of the stories that they tell. These small stories are important because they allow me to expand the world around the creatures that I have developed digitally and in silicone sculptures. They also allow me to shift the focus away from the creatures and on to us. It allows me to looks at other aspects of the relationship between them and us and to explore it through a series of moments. It also allows me to find new elements for my world.
There are a lot of babies in these drawings. I’m interested in children for a number of reasons. For one, a young child represents possibility, both positive and negative. Also babies don’t make judgments. The world is totally new to them - they just take it in. They have no expectation and are always surprised. Children aren’t threatening. On the contrary, they bring out the best in us; we want to care for them, protect them.
In this case, I use children to evoke the idea of vulnerability. In my work, it is often the creatures that seem vulnerable. They are mostly reliant on us and at our mercy. In these works it is us ­ the humans, the children ­ that are vulnerable. The situations that these children are in feel uncomfortable. They are just too close to the creatures and it’s creepy. It is ambiguous whether there is any animosity or just the rough and tumble of play. Like that moment, as a child reaches out to a pat even the most familiar pet, when we worry that they will be bitten (Patricia Piccinini,2006). "

Philip

                                                                           Alice

                                                                           Hector

                                                                          Laura

      
                                                                             Leo

                                                                 Laura (with sandwich)

                                                                     Untitled (Hector)

                                                                         Untitled

                                                                   Hector (on carpet)

                                                                      James (sitting)

                                                                      Bearded Child

REFERENCE

PATRAICIA PICCININI, viewed at 27 Nov 2010 :http://www.patriciapiccinini.net/  

The exhibitions of Patricia paccinini

                                                  
                 1 MAY-22 AUGUST 2010 :ART GALLERY OF WESTERN AUSTRALIA

                                 
                                   APRIL 2011:  ART GALLERY OF SOUTH AUSTRALIA                

The other art work of Patricia Piccinini

                         
                            Not Quite Animal (Transgenic skull for the Young Family, 2008)
                                      Bronze. 28*14.5*19.5cm

                                    
                                                     The Gathering (2006)

Surrogate (for the Northern Hairynosed Wombat, 2005)

                                           The Long Awaited, 2008
                                                         Silicone, fibreglass, human hair, plywood, leather, clothing
                                                         92*152*80cm
                                                         Detached Cultural Organisation, Hobart



                                                      The Embrace, 2005
                                                                        Silicone, fibreglass, leather, plywood, 
                                                                        human hair, clothing, variable dimensions

 REFERENCE

http://www.patriciapiccinini.net/                                          

At 24 Sep of 2010, I visited the Bendigo Art Gallerry, this is a fantastic gallery, there is a excellent art work attracted my attention which called " We are family". This is a sculptural works of Patricia Piccinini. It is a "pig monster" which like a combination of pig and human being. In this art work, it indicates the relationship between technology, animals and human beings. The skin of this sculptural used by leather, the fur used by the real human hair. Thats the reason why the this "pig monster" looks so real. As following, I will introduce the well-known Australia artist --Patricia Piccinini and some of her fantastic art work.

Bendigo Art Gallery

                                   The post card I bought from Bendigo art gallery

"Patricia Piccinini -The Young Family 2002-3 - shown at Venice Biennale 2003, Courtesy of Artist"

                                         

PATRICIA PICCININI


Patricia Piccinini is one of Australia's most acciaimed contemporary artists whose startling sculptures examine the connection between science and nature, art and the environment. Audiances are drawn to Piccinini's sculptures because they appear so real, yet they are creatures of the artist's imagination developed to consider a strange new world of artificial or mutant beings derived from experimental biotechnology.

Created using a combination of materials such as silicone, fibreglass and human hair, Piccinini's sculptures are familiar yet fantastical in their depiction of possible future species and their interaction with human beings. Often confronting yet endearingly vulnerable, her sculptures give form to her fascination with the relationship between the 'natural' and the 'artificial' while asserting the power of social relationships, love and communication. Piccinini's work is fundamentally about the human condition, despite the quasi-human appearance of her sculptures. The artist sees them as 'beautiful rather than grotesque, miraculous rather than freakish'.



HIS ART WORKS

                           "Patricia Piccinini The Observer 2010-silicone, fibreglass, steel, human hair, clothing, chairs"

The Observer, is of a child tipped over a stack of Ikea chairs curving in a centipede-like spine.
"We've created this precarious environment, an ecology for our children built of these mass produced goods...and we've placed our children in this space, and
they are just observing," says Piccinini. Though the child is not in immediate danger the work seems to ponder the possibilities of the outcome. "It's
talking about balances," suggests Piccinini.
Her silicone and fibre-glass creations have human hair on their painted skin-like veneers, punched in one at a time by hand. To create life-like creatures
with blushed skin tones that give them the verisimilitude of real skin, she employs a team of eight specialized apprentices at her studio in Melbourne.

                                         


"Patricia Piccinini Cascade 2010 - silicone, fibreglass, human hair"

"The germ for Cascade," she says, showing me a work hanging on the wall "came from me being pissed off with images of women where they are sexualized - but
in a homogenous way." The sexualization of women, she felt, rarely encompassed their fertility or fecundity. In this piece the hummingbird appears to be
pollinating the growth of hair flowering at the women's pudenda. "It's pulling at this - symbol for fertility, [it is about] lushness and beauty," says
Piccinini, describing it as a metaphor for the weaving and embroidery traditionally associated with women.

"Patricia Piccinini, Litter - 2010 silicone, fibreglass, steel, fox fur"

So far the show is grounded in the real, but the rest takes us into the fantastic possibility of creatures formed from an alchemical blend of nature and
technology. Describing a litter of three transgenic babies (Litter, a play on 'garbage'), she remarks, "Here, this nature has become technologized. These are
all natural forms. There are canine, simian and human forms in here, but put together in a technological way to make a new creature."

                                                "Patricia Piccinini The Stags 2008"

In The Stags we see a couple of dueling Vespa scooters (skilfully molded by an automotive modeler) transmogrified into deers: machines behaving as animals.
Here Piccinini portends the naturalization of technology. "Same idea but flipped. Same world and the relationship to technology but different sides," says
Piccinini.
"Machines are taking over a lot of responsibilities - my children are playing a lot more with computers than trees. This is an idea that they could be a
natural force - and that they are fighting and autonomous scares us; something we can't control might not be so positive."
To support this extrapolation into the future, Piccinini offers that we are already disassembling what it means to be human, "My computer has a personality;
I can talk to my car."

                "Patricia Piccinini -The Young Family 2002-3 - shown at Venice Biennale 2003, Courtesy of Artist"

There are a lot of children depicted in The Young Family, and she uses them as a device to elicit emotion. "I have children now, and have renewed respect for Dr. Seuss," she says. "There are children in my work because they have no prejudice and they bring out the best in us. Why would you change nature/have artificial nature - I make these creatures because I want people to engage with them, empathize with them, pick them up."

                               "Patricia Piccinini sitting beside her artwork The Comforter 2010. photo: Kisa Lala"

In The Comforter, a hirsute woman (an actual genetic condition that led to the bearded lady once popular in freak-shows and French courts), cradles an
eyeless creature conceived of as an udder with a large mouth. The mouth is needy, but also a sensuous organ of expression. In this, the maternal instinct of
the 'woman' is celebrated without prejudice. The woman loves this grotesque creature because it is her own. The Strength of One Arm is based on a dugong - (a fork-tailed manatee) that sailors, she tells me, used to mistake as mermaids. And here the creature is
doing acrobatics on an Ibex. "If it was an adult - we might think of him as a show-off. We've always wanted animals to perform for us. It makes us feel a
little self conscious." Questioning the attributes of what it means to be human, here the artist probes the boundaries of what we find sensual.

  "Patricia Piccinini - Balasana - 2009 - Silicone, fiberglass, human hair, clothing, Red-necked Wallaby, rug"

In Balasana - the Sanskrit name for the yogic child pose, a little girl lies on a Turkish carpet, with a taxidermied albino wallaby - they die quickly
because they get sunburned, I am told. "This work is about my desire or fantasy for a relationship with nature that is so intimate. In the child's pose, you
can have someone lie on your back and do it the other way." The relationship is intuitive, connecting the two in symbiosis.

"Patricia Piccinini Bottom Feeder 2009 - silicone, fiberglass, fox fur"
Bottom Feeder, pictured above, is a most pathetic looking creature with a rear-end that mimics a face of Buddha-like benevolence, a device often used as a
decoy against predators, in this case a disarming tactic adapted against humans to give them pause for thought or at least evoke a smile...

"Patricia Piccinini The Strength of one Arm (Siberian Ibex) 2009 silicone, fiberglass, human hair, clothing, Siberian Ibex"

The Strength of One Arm is based on a dugong - (a fork-tailed manatee) that sailors, she tells me, used to mistake as mermaids. And here the creature is doing acrobatics on an Ibex. "If it was an adult - we might think of him as a show-off. We've always wanted animals to perform for us. It makes us feel a little self conscious." Questioning the attributes of what it means to be human, here the artist probes the boundaries of what we find sensual.
Movie productions have asked to license her creatures, but she says she is wary as they underestimate the ability of the viewer to take on complex ideas. Patricia Piccinini feels an attachment to her creations, they are her cherished off-springs after all, "My work needs to have a home where it is really loved. I do want to know where they all go."

REFERENCE

Ron Mueck, Strange artwork by Patricia Piccinini,URBAN TITAN, viewed at 27, Nov, 2010, http://urbantitan.com/strange-artwork-by-patricia-piccinini/

http://www.patriciapiccinini.net/

http://l000.olo.blog.163.com/blog/static/87942820201031341145836/

Image source:  Google

haha