‘They never will love where they ought to love, who do not hate where they ought to hate.’ – Edmund Burke
Modern art galleries around the word proudly display the bizarre and perverse multi-medium works of Patricia Piccinini. Notably, John Podesta promotes her pieces and went so far as to help the Australian artist launch a show in 2005. She is also said to be the favorite artist of John’s brother, Tony Podesta. The two are major players in pushing the Overton Window within the art world.
The city of Canberra in 2013 commissioned Piccinini to design a Skywhale for its centenary year. She produced a hideous “hot air balloon in the shape of a tortoise-like animal featuring huge dangling udders made from four hectares of nylon.” The balloon cost city taxpayers $300,000. Obscene in every way.
In art, there is deliberate intention in everything. True art does certainly allow for imagination and fantasy. But for something to be classified as art, it should be appreciated primarily for its beauty or emotional power.
In a 2014 interview with the Sydney Morning Herald, Piccinini gave hints about her intent with her anti-nature, Luciferian, inverted artwork: “It’s about evolution, nature – how nature is such a wonderful thing, we’re just here to witness it, it’s not here for us – genetic engineering, changing the body.”
Does this make any sense? Not to me.
Piccinini’s “art” illustrates an obsession with demons, children and genetically modified human-animal hybrids. It reeks of demonic pedophilia, showing monsters cuddling up children who just calmly accept it. The “artist” also appears to have an obsession with “rear ends” and scrotums.
Researchers interested in digging deeper may want to have a closer look at the galleries that promote her work: Roslyn Oxley Gallery, Bendigo Art Gallery, Monash University Museum of Art, Museum of Contemporary Art Sydney, Queensland Art Gallery and the Gallery of Modern Art.
As the saying goes, pictures speak louder than words. Here’s a sampling of her work.