A Quote by Patricia Piccinini

Most of the work I make uses materials that are a bit outside of the traditional fine art world. — © Patricia Piccinini
Most of the work I make uses materials that are a bit outside of the traditional fine art world.
I was a Fine Art major. You do a bit of everything until the final year, when you specialise. I did pencil drawing and sculpture. It's a pretty well-rounded fine art education. I thought that it was viable option to make a living out of art. I'm not sure if I was thinking realistically; maybe I never was. But it had great appeal.
The art world is a bit smaller than the music world, and the music world is a bit smaller than the cinema world. But the art world is pretty tight even though the biggest thing that's happened to it is the auctions, which are the only reason people on the outside know anything about it.
As an artist, I've always felt most comfortable outside of the art supply store. So domestic materials are the ones that most help inform what I'm trying to talk about and our familiarity as a whole - kind of the collective us, I guess.
In most modern instances, interpretation amounts to the philistine refusal to leave the work of art alone. Real art has the capacity to make us nervous. By reducing the work of art to its content and then interpreting that, one tames the work of art. Interpretation makes art manageable, conformable.
Architecture is involved with the world, but at the same time it has a certain autonomy. This autonomy cannot be explained in terms of traditional logic because the most interesting parts of the work are non-verbal. They operate within the terms of the work, like any art.
There's something about materials like copper, woods, stone, trees, shells. You walk outside and these materials are part of the world before we touched anything. There's a feeling of pleasure that many of us have in materials that have some presence before us, like clay and wood and copper.
My goal is to make fine art, and fine art comes from the soul. If you have virtuosity and facility, you can take and create something of significance.
In the traditional Islamic world, the hierarchy of the arts was not based on whether they were "fine" or "industrial" or "minor". It was based upon the effect of art on the soul of the human being.
Universities won't survive. The future is outside the traditional campus, outside the traditional classroom. Distance learning is coming on fast.
I really set out to do this traditional looking and traditional sounding multi-cam sitcom, but then make the world as elastic as an animated show could be. Make the world as surreal as we wanted it to be.
The majority of my work is from life. I spend most fine days from May to October painting outside.
Art history is fine. I mean, that's a discipline. Art history is art history, and you start from the beginning and you end up in artist in time. But art is a little bit different. Art is a conversation. And if there's no conversation, what the hell is it about?
Art is frightening. Art isn't pretty. Art isn't painting. Art isn't something you hang on the wall. Art is what we do when we're truly alive. An artist is someone who uses bravery, insight, creativity, and boldness to challenge the status quo. And an artist takes it (all of it, the work, the process, the feedback from those we seek to connect with) personally.
Glass is the most magical of all materials. It transmits light in a special way...Im pleased that my art appeals to so many people of all ages. As a parent and an artist, Im especially looking forward to leaving a legacy at The Childrens Museum, a place where I hope my work brings joy to children who visit from all over the world.
Most of the faint intimations of immortality of which we are occasionally aware would seem to arise out of Art or the materials of Art.
To see the outside world as the same stuff as our most secret or unknown thoughts is a fine necessity.
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