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
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
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
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
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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
The Bond

by Patricia Piccinini (2016)


The Bond continues my longstanding fascination with emotional connection and empathy within the context of the contemporary world. This is a world where the borders between nature and culture are rendered increasingly nebulous through technology and where this miscibility fundamentally changes our attitudes to the body and our selves.

In this world we see a relationship, between a mother and a transgenic child, that is both deep and ambiguous. There is much difference between the two beings but also much that links them; certain family resemblances if you like.

The creature itself has a strange physiognomy. The back is essentially the sole of a running shoe, which is an interesting formal trope for me. It's significance is twofold: Firstly, it refers to the common evolutionary trait where animals - such as stick insects for example - disguise themselves as part of their environment which highlights both the strange and super-specific cleverness of evolution alongside the deeply specific connections between species and their particular environments. In this case, the animals mimicry of a piece of consumer sportswear locates it totally as a product of our world.

Secondly, it evokes the idea of the protean amorphousness of the body, as it is understood in the age of biotechnology. Bodies are never final or even particularly specific. The universality of DNA means that organisms can be changed and manipulated, crossed and hybridised with elements from completely outside their realms. This crossing of an animal with a shoe doesn't seem so surreal anymore. But it is.

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