English Typing Paragraph
▲
A pathway has been forged through the field as the visitor meanders through this teeming world brimming with abundant fecundity. The architectural flexibility
of GOMA's gallery spaces is exploited, as Piccinini creates viewing platforms as vistas from which to survey the work from above. The theme of fertility
and reproduction is continued in "Kindred" (2018). An orangutan-like mother gently holds her two babies. Forms are fluid here, as Piccinini probes the
boundaries demarking artificial from natural, human from the posthuman. She leaves us with no easy answers, suggesting the borders are unstable, mutable
and in flux. The experience of looking down and through is accentuated with "The Grotto" (2018) where scores of suspended forms line the walls of a cave-like
space. Neither bats or fungi, but perhaps some where in between, the installation reminds us of Piccinini's enduring concerns: the shared inter connection
between species. The installations are replete with their own unique soundscapes, creating an additional layer to this immersive, self-contained world.
In one corner rests a vintage caravan. On closer inspection, the viewer is recast as voyeur. Peering through the caravan's window, we are met with two
human-like forms interjoined in an intimate embrace. This relationship is rendered compassionately and tenderly by the artist. Piccinini is staging a
confrontation that is not always easy or benign for the spectator and it is this disquiet that she is asking us to confront and examine. Keen Piccinini
of GOMA's gallery spaces is exploited, as Piccinini creates viewing platforms as vistas from which to survey the work from above. The theme of fertility
and reproduction is continued in "Kindred" (2018). An orangutan-like mother gently holds her two babies. Forms are fluid here, as Piccinini probes the
boundaries demarking artificial from natural, human from the posthuman. She leaves us with no easy answers, suggesting the borders are unstable, mutable
and in flux. The experience of looking down and through is accentuated with "The Grotto" (2018) where scores of suspended forms line the walls of a cave-like
space. Neither bats or fungi, but perhaps some where in between, the installation reminds us of Piccinini's enduring concerns: the shared inter connection
between species. The installations are replete with their own unique soundscapes, creating an additional layer to this immersive, self-contained world.
In one corner rests a vintage caravan. On closer inspection, the viewer is recast as voyeur. Peering through the caravan's window, we are met with two
human-like forms interjoined in an intimate embrace. This relationship is rendered compassionately and tenderly by the artist. Piccinini is staging a
confrontation that is not always easy or benign for the spectator and it is this disquiet that she is asking us to confront and examine. Keen Piccinini
Note: Use Down arrow,Enter,page-down to move to Next Chunk, Use page up to Move to Previous Chunk ▼
Chunk Number: 1