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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 followers will not be disappointed in the exhibition's scope. Pivotal works from
throughout her career including "The Young Family" (2002) are on display. Part pig, part human, the mother suckles her offspring. Her excess flesh sags and wrinkles and we are left to
uneasily contemplate her babies' future. Inspired by advances in genetically modified pigs to generate replacement organs for humans, we are reminded that Piccinini has always been at the forefront of debates
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 followers will not be disappointed in the exhibition's scope. Pivotal works from
throughout her career including "The Young Family" (2002) are on display. Part pig, part human, the mother suckles her offspring. Her excess flesh sags and wrinkles and we are left to
uneasily contemplate her babies' future. Inspired by advances in genetically modified pigs to generate replacement organs for humans, we are reminded that Piccinini has always been at the forefront of debates
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