The way we look at nineteenth-century English social realism and appreciate the working classes of the emerging industrial revolution. Patricia Piccinini More Quotes by Patricia Piccinini More Quotes From Patricia Piccinini In one hundred years time people will look back and think 'these people were really worried about the environment, they were looking at things to do with global warming, and this is why they were making work about these issues'. Patricia Piccinini issues years thinking Materials are very important to me, and always have been. Patricia Piccinini has-beens materials important I started thinking of digital imaging, not photography, in 1994 as it seemed the most appropriate way to deal with ideas of biotechnology and advertising. My practice is conceptual. Patricia Piccinini photography practice thinking We tend to be talking to fabricators in the film and special effects or automotive customisation worlds. That having been said, I'm sure as more and more artists come to use these sorts of media, the expertise amongst conservators is going to keep pace with that. Patricia Piccinini media artist talking A child came up to me and asked 'am I dreaming?' I had a similar experience coming to the Art Gallery of South Australia when I was a child. My mum had done a workshop here and it stayed with me. It's an important formative time. Patricia Piccinini dream children art For one work we developed a human hair felt, which involved collecting and sorting hundreds of kilos of human hair, and then blending it will a tiny percentage of black merino followed by carding and felting. Patricia Piccinini tiny black hair If there are moments in my work when people find joy and humour, that's a real success for me. Patricia Piccinini real joy people I don't connect accessibility with lowest common denominator. Patricia Piccinini accessibility lowest common It's much easier to do something that's seen as being serious because people accept it right away, they don't question what you do, they just accept, because they think you must be right. Patricia Piccinini serious people thinking It's interesting to work with what's important today, which is meaningful for our everyday lives. Patricia Piccinini everyday meaningful interesting Melbourne is a fantastic place to work, but it's not the centre of the world. Patricia Piccinini melbourne fantastic world My Father is a photographer, so it was always around. I was trained in painting, so I learnt a lot of skills about composition, light, colour, the formal attributes of images. Patricia Piccinini skills light father I use whatever media I think will best express my ideas and therefore I don't have a lot invested in the idea of photography specifically. I am more interested in Art. Patricia Piccinini photography art thinking I pretty much keep everything; we have drawers full of samples and tests and every old catalogue and magazine. Patricia Piccinini drawers magazines tests I have a database of all my works that I maintain to keep track of works and editions. Patricia Piccinini databases track The studio keeps notes on the details of editions and production processes and the like. Patricia Piccinini details notes process We always use resin instead of polyurethane, even though it takes more work and is in places where it can't be seen, because resin tends to be more UV stable than urethane. Patricia Piccinini stable use In the studio we spend a lot of time working our what materials will work best and also last. We do tests and come back to them years later to see how they are still performing, and this leads our decisions. Patricia Piccinini tests decision years Now that other people have my works, it's really important to me that what they have has longevity. Patricia Piccinini longevity important people I put a lot of time and thought into my work, which I see as a sort of respect for both the work and the audience, and I have always been very concerned that the materiality of the work reflects that. Patricia Piccinini materiality audience concerned
