Discover the evocative human-animal carved creatures in “Patricia Piccinini: We Are Connected”
Text by Caryl Mae Soler. Images courtesy of the Artist, Hillary Walker, QAGOMA, and the Institute for Cultural Exchange.
When art and science collide, even the sky will not be a sanctuary for its limitations in unfolding the uncertainties of reality and heralding phantom discoveries; thus, behind this intention are these two disciplines that are a compulsory requirement in unlocking the pathway of succession in explorations and inventions – the entity of curiosity and creativity.
This year, ArtScience Museum presents one of its preternatural and intricating exhibitions of Patricia Piccinini, an Australian contemporary artist whose works greatly embodied the concept of the underlying boundary among the natural and artificial exposition of human evolution. Known as one of the world’s leading contemporary artists today, she has spent over three decades of her life in-depth understanding of the evolving relationship between the human being and its dynamic nature, especially with the current emerging digital generation in the advent of technology and automation.
“Patricia Piccinini: We Are Connected is an exhibition of questions, not answers. It does not tell us what to think, but instead asks how we feel,” said Honor Harger, Vice President of ArtScience Museum and Attractions at Marina Bay Sands, Singapore. Her hyper-realistic human-animal hybrid sculptural creatures with explicit and rigorous details depict the unusual mutations of our genetic progression that surprisingly recreates the perfect impression with fiberglass, silicone, resin, and unorthodox component materials like human hair.
Harger also conveys the idea, “These forms of art are remarkably challenging the conventional thinking of one’s definition of beauty, perfection, and the ideal body,” – an astonishing exhibition that will drive its audience into an otherworldly and bizarre expression of the fascinating origin of our façade demeanor. Her works undeniably give compassion and the vulnerability to be cognizant of the prevailing possibilities in encountering the new scientific advances developing in time, such as genetic engineering, DNA editing, cloning, and even to be conscious of our interconnectivity relationship and perception of all the living creatures in the present and future slate, widening the empathetic behavior and recognition when confronted with such unfamiliarity even digging deeper to embrace the true forms of individual being and its evolutionary leaps.
Upbringing the past beginning of the mankind, the exhibition features from the early 2000s through to 2021, that brings together more than 40 incredible artworks that will be divided into six main sections that vary from sculptures, installations, videos, and collages, in collaboration with the Institute for Cultural Exchange, Germany, making it as Piccinini’s first major solo exhibition in Southeast Asia that will run from August 2, 2022, until January 29, 2023.
“Much of my work is focused on imagining a sort of artificial nature. However, I am also interested in thinking about naturalized technology. For many of us, technology is a natural part of everyday life. I am not condemning this. I don’t think it’s that useful to imagine a return to a pre-industrial past. Instead, I’m interested in how we might use the possibilities of our particular hybrid world to create a future that will be better for all of us – including other species rather than at their expense,” Piccinini added. Transpiring the magnificent provenance of humanity before the uprising transformation of our world into digitalization – these evocative 3D works highlighted a strong sense of purity and innocence that can be perceived in just one look, juxtaposing the contrary traditional beliefs this solemnly dedicate and evolve around the fast-pacing changes in the human existence and our appearance.