Patricia Piccinini’s videos compliment her work in other media that includes installation, sculpture, photography, painting and film. Her constant thematic obsessions – the conflicted relationship between humans and nature and the possibly hubristic striving to replace nature with laboratory created facsimiles – unites a range of projects produced since the mid-90s.
Piccinini’s early videos such as Protein Lattice [1997] and Big Sisters [1999] set the tone for many of her later works. Protein Lattice provides the audience with a rats-eye point of view as a snuffling rodent scampers around a computer generated maze, while Big Sisters features a cast of young Japanese women reciting rules of the road to camera as the image is intercut with pink-tinted images of busy roads. Lustre [1999] offers a close up glide over a metallic surface that slowly crazes and rusts before reassembling itself. This trio of works have the distinct feel of science fiction and, despite their deployment of low budget special effects, Piccinini’s pointed critique of futurism is apparent.
Works such as Horizon [1998] – a two-screen loop depicting a computer generated ocean; Swell [2000] – and three-screen computer generated sequence of huge ocean swells; and The Breathing Room [2000] – a three screen computer generated skein of apparently breathing flesh – strove to provide the viewer with a wholly immersive experience, placing the videos in installations that included loud, amplified sound and ominous rumbles. The notion of depicting “nature” through wholly artificial means has been a constant in Piccinini’s work and her elaborate Plasticology [1997-2003] is one her most persuasive works. Mounted for a Tokyo art gallery, Plasticology was an installation of dozens of television monitors of varying sizes displaying discreet images of sprouts, ferns, palms and oak trees all created via computer imaging. With one “plant” per monitor, the overall effect was one of a “forest” experienced via an unnerving, uncanny simulation of a natural environment situated wholly within synthetic space.
Piccinini’s recent video works have become more elaborate, edging towards conventional cinematic grammar, albeit delivered with the artist’s trademark ambiguity. Plasmid Region [2003] and In Bocca Al Lupo [2003] are chilling, horrifying still lives of slowly pulsating fleshy blobs that grow and multiply without end. In The Gathering [2006-08] Piccinini deploys classic mis en scene of suburban horror – a quiet family home, deserted except for a child sleeping on a plush, carpeted floor. The house is otherwise empty – or is it? From behind curtains and from under beds emerge furry, mutant creatures that look like cats without heads that slowly surround the sleeping girl. Abruptly one creature parts its fur to reveal two glistening phallic protrusions... After a few moments, the video begins again. There is no closure and no relief from the horror.
2012
There are no Strangers, Tolarno Galleries, Melbourne, Australia
2011
Hold Me Close To Your Heart, Arter Space For Art, Istanbul, Turkey
The Welcome Guest, Conner Contemporary Art, Washington DC, USA
Once Apon a Time, Art Gallery of South Australia, Adelaide, Australia
The Fitzroy Series, Centre for Contemporary Photography, Melbourne, Australia
2010
Not as We Know It, Haunch of Venison , New York, USA
Beyond Our Kin, Roslyn Oxley9 Gallery, Sydney, Australia
Relativity, Art Gallery of Western Australia, Perth, Australia
Patricia Piccinini, Leeahn Gallery, Daegu and Seoul, Korea
2009
Unforced Intimacies, Tolarno Galleries, Melbourne , Australia
Recent Work, Byblos Art Gallery, Verona, Italy
Evolution, Tasmanian Museum and Art Gallery, Hobart, Australia
2008
The Wellspring, Tolarno Galleries, Melbourne, Australia
Related Individuals, Roslyn Oxley9 Gallery, Sydney, Australia
The Place Where It Actually Happens, Yvon Lambert, New York, USA
Piccinini, Perc Tucker Regional Gallery, Townsville, Australia
2007
(tiernas) Criaturas/(tender) Creatures, Artium, Vitoria-Gasteiz, Spain
Hug: Recent Works by Patricia Piccinini, Frye Museum, Seattle, USA
Double Love Knot, Lismore Regional Gallery, Lismore, Australia
Recent Work, Roger Williams Gallery, Auckland, New Zealand
Hug: Recent Works by Patricia Piccinini, Des Moines Art Center, Des Moines, USA
2006
In Another Life, Wellington City Gallery, Wellington, New Zealand
Recent Drawings, Roslyn Oxley9 Gallery, Sydney, Australia
Life Cycle, Tolarno Galleries, Melbourne, Australia
2005
Unbreaking Eggs, Roslyn Oxley9 Gallery, Sydney, Australia
Nature's Little Helpers, Robert Miller Gallery, New York, USA
2004
Sculpture, Robert Miller Gallery, New York, USA
We are Family, toured to Bendigo Art Gallery, Bendigo, Australia
2003
We are Family, Australian Pavilion, 50th Venice Biennale, Venice, Italy
We are Family, toured to Hara Museum, Tokyo, Japan
Precautionary Tales, Tolarno Galleries, Melbourne , Australia
Precautionary Tales, Roslyn Oxley9 Gallery, Sydney, Australia
Love Me Love My Lump, Monash Centre and Dryphoto Gallery, Prato, Italy
Call of the Wild, toured to John Curtin Gallery, Perth, Australia
2002
Call of the Wild, Museum of Contemporary Art, Sydney, Australia
Retrospectology, Australian Centre for Contemporary Art, Melbourne, Australia
Sandman, National Gallery of Victoria, Melbourne, Australia
Autoerotic, Roslyn Oxley9 Gallery, Sydney, Australia
2001
The Breathing Room, The Tokyo Metropolitan Museum of Photography, Tokyo, Japan
Superevolution, Centro de Artes Visuales, Lima, Peru
One Night Love, Tolarno Galleries, Melbourne, Australia
2000
Swell, Artspace, Sydney, Australia
Desert Riders, Roslyn Oxley9 Gallery, Sydney, Australia
1999
Protein Lattice, Republic Tower billboard, Melbourne, Australia
Truck Babies, Tolarno Galleries, Melbourne, Australia
Plasticology, NTT InterCommunication Centre, Tokyo, Japan
1998
Sheen, Adelaide Festival, Adelaide, Australia
Car Nuggets, Arts Victoria, Melbourne, Australia
1997
Psycho, Tolarno Galleries, Melbourne, Australia
1996
Natural Beauty, The Basement Project, Melbourne, Australia
Your Time Starts Now..., Contemporary Art Centre of South Australia, Adelaide, Australia
Your Time Starts Now..., Institute of Modern Art, Brisbane, Australia
1995
Love Me Love My Lump, The Basement Project, Melbourne, Australia
TerrUrbanism, toured to The Australia Centre, Manila, Philippines
1994
TerrUrbanism, Centre for Contemporary Photography, Melbourne, Australia
T.M.G.P., The Basement Project, Melbourne, Australia
Indivisibles, The Basement Project, Melbourne, Australia
2012
Nature vs Nurture, FaMa Gallery, Verona, Italy
Chromogenic, 2012, Media House Gallery, The Age building, Melbourne, Australia
The Observer, Haunch of Venison, London, UK
Controversy: the power of art, Mornington Peninsula Regional Art Gallery, Melbourne, Australia
Animal/Human, University of Queensland Art Museum, Brisbane, Australia
The Freeze, Maroondah Art Gallery, Melbourne, Australia
Cycle in Cinema, University of NSW, College of Fine Arts, Sydney, Australia
Fairy Tales, Monsters, and the Genetic Imagination, The Frist Center for the Visual Arts, Nashville, Tennesse, USA
2011
The Welcome Guest, Conner Contemporary Art, Washington DC, USA
2112: Imagining the Future, RMIT Gallery, Melbourne, Australia
Power of Making, Victoria & Albert Museum, London, UK
Boundaries Obscured, Haunch of Venison , New York, USA
Our Origins, Museum of Contemporary Photographty at Columbia, Chicago, USA
Tokyo Art meeting: Transformation, Museum of Contemporary Art Tokyo (MOT), Tokyo, Japan
2010
Not As We Know It, Haunch of Venison , New York, USA
The Earth is Blue like an Orange, The Montreal Museum of Fine Arts, Montreal, Canada
Medicine and Art, Mori Art Museum, Tokyo, Japan
2009
2nd Asian Art Biennale, National Taiwan Museum of Fine Arts, Taipei, Taiwan
Wonderland: through the Looking Glass, KadE Kunsthal, Amersfoot, The Netherlands
Tier-Werden, Mensch-Werden, NGBK, Berlin, Germany
Niet Normaal: Difference on Display, Beurs Van Berlage,, Amsterdam, The Netherlands
Colliding Worlds, Samstag Museum, Adelaide, Australia
Contemporary Australia: Optimisim, GOMA Queensland Art Gallery, Brisbane, Australia
2008
Neo-Goth: Back In Black, University of Queensland Art Museum, Brisbane, Australia
The Stranger, Yvon Lambert, New York, USA
Gallery Artists, Conner Contemporary Art, Washington DC, USA
Figuring Landscapes, ArtSway, and then travelling UK and Australia until 2010, Hampshire, UK
Life (Death Thereafter), Silvershot, Melbourne, Australia
The Land of Retinal Delights, Laguna Art Museum, Laguna Beach, USA
Bloodline: The Evolution of Form, McClain Gallery, Houston, USA
New Millenium, Lismore Regional Gallery, Lismore, Australia
FX in Contemporary Photography, McClelland Gallery and Sculpture Park, Melbourne, Australia
Global Feminisms, Brooklyn Museum, New York, USA
2007
Switcher Sex: Video Works from the Teutloff Collection, Slought Foundation, Philadelphia, USA
Diagnose [Kunst]: Contemporary art reflecting medicine, Museum im Kulturspeicher , Wurzberg, Germany
Diagnose [Kunst]: Contemporary art reflecting medicine, Kunstmuseum Ahlen, Ahlen, Germany
Down Under: The Hague sculpture 07, Haags Historisch Museum, The Hague, The Netherlands
MCA Collection: New Acquisitions, Museum of Contemporary Art, Sydney, Australia
Artist Makes Video: Art Rage Survey 1994-1998, Queensland College of Art, Brisbane, Australia
Redefined, Corcoran Museum of Art, Washington DC, USA
2006
Uneasy Nature, Weatherspoon Art Museum, Greensboro, USA
Long Live Sculpture, The Open Air Museum for Sculpture Middelheim, Antwerp, Belgium
Prism, Bridgestone Museum of Art, Tokyo, Japan
Black & Blue, Robert Miller Gallery, New York, USA
High Tide, Zacheta National Gallery of Art, Warsaw, Poland
Out of Line: Drawings from the Collection of Sherry and Joel Mallin, Herbert F Johnson Museum of Art Cornell University, Ithaca, USA
High Tide, Contemporary Art Centre, Vilnius, Lithuania
The Idea of the Animal, RMIT Gallery, Melbourne, Australia
New to the modern: Heide's Collection 25 years on, Heide Museum of Modern Art, Melbourne, Australia
Strange Cargo, Newcastle Region Art Gallery, travelling exhibition until March 2008, Newcastle, Australia
Supercharged, Institute of Modern Art, travelling exhibition until June 2008, Brisbane , Australia
2006:Contemporary Commonwealth, Australian Centre for the Moving Image, Melbourne , Australia
Epic, Lismore Regional Gallery, Lismore, Australia
Home Goal: Diversity in Contemporary Art from the Collection of Dr. Dick Quan, Bathurst Regional Art Gallery, Bathurst, Australia
Becoming Animal, MASS MoCA, North Adams, USA
2005
Detox, Kunstnernes Hus, Oslo, Norway
Figure It Out, Hudson Valley Center for Contemporary Art, Peekskill, USA
I thought I knew but I was wrong, Ssamzie Space, Seoul, South Korea
Almost, Robert Miller Gallery, New York, USA
Living Apart Together, Odapark Venray, Venray, The Netherlands
Extra-Aesthetic: 25 Views of the Monash University Collection, Monash University Museum of Art, Melbourne, Australia
Rheinschau Art Cologne Projects, Art Cologne, Cologne, Germany
2004
Andererseits: die phantastik, Landesmuseum, Linz, Austria
We Are the World, Chelsea Art Museum, New York, USA
Brides of Frankenstein, San Jose Museum of Art, San Hose, USA
Auto Fetish: The Mechanics of Desire, Newcastle Region Gallery, Newcastle, Australia
Bloom: Mutation, Toxicity and the Sublime, Govette Brewster Art Gallery, New Plymouth, New Zealand
I thought I knew but I was Wrong, Jamjuree Art Gallery, Pathumwan, Bangkok, Thailand
Adelaide Biennale of Australian Art, Art Gallery of South Australia, Adelaide, Australia
Repercussions, Greenaway Art Gallery, Adelaide , Australia
The Plot Thickens, Heidi Museum of Modern Art, Bulleen, Victoria
Written with Darkness: Selected photographs from the Corrigan Collection, University of Technology Gallery, Sydney, Australia
Face Up, Hamburger Bahnhof, Berlin, Germany
2003
Bienal de La Habana, Havana, Havana, Cuba
Second Sight, National Gallery of Victoria, Melbourne, Australia
see, here, now, The Ian Potter Museum of Art, Melbourne, Australia
Liverpool Biennale: International 2002, Tate Liverpool, Liverpool, England
2002
(The world may be) fantastic: 2002 Biennale of Sydney, Object Gallery, Sydney , Australia
Tech / No / Zone, Museum of Contemporary Art, Taipei, Taiwan
Melodrama: Lo Excesivo en la ImaginaciÛn Posmoderna, Artium, Centro Museo Vasco de Arte Contempor·neo, Vitoria-Gasteiz, Spain
Modified Terrain, Institute of Modern Art, Brisbane , Australia
conVerge; where art and science meet, Art Gallery of South Australia, Adelaide, Australia
Heterosis: Digital Art from Australia, Conde Duque, Madrid, Spain
For Real, Wood Street Galleries, Pittsburgh, United States
2nd Berlin biennale, Postfuhramt (Old Postal Services Building), Berlin, Germany
2001
hybridforms: Australian new media art, Netherlands Media Art Institute, Amsterdam, The Netherlands
Melbourne Festival, The Australia Projects, Melbourne Zoo and RMIT Gallery, Melbourne, Australia
Seeing through Landscape, Australian Centre for Photography, Sydney , Australia
Desire, Royal Melbourne Institute of Technology Gallery, Melbourne, Australia
Gwangju Biennale, Gwangju City Art Museum, Gwangju, Korea
2000
Song of the Earth, Museum Fridericianum, Kassel, Germany
Passing Time: The Mˆet & Chandon Exhibition, Art Gallery of New South Wales, Sydney, Australia
Terra Mirabilis: Wonderful Land, Centre for Visual Arts, Cardiff, Wales
Zeitgeˆssische Fotokunst Aus Australien, Neuer Berliner Kunstverein, Berlin, Germany
Zeitgeˆssische Fotokunst Aus Australien, Museum Scholfl Hardenberg, Velbert, Germany
Zeitgeˆssische Fotokunst Aus Australien, Kunstsammlungen, Chemnitz, Germany
Zeitgeˆssische Fotokunst Aus Australien, Kulturzentrum der Stadt Stuttgart, Stuttgart, Germany
Flow, National Art Gallery, Kuala Lumpur, Malaysia
Bonheurs des Antipodes, MusÈe de Picardie, Amiens, France
Make/Believe, The Fabric Workshop and Museum, Philadelphia, USA
Sporting Life, Museum of Contemporary Art, Sydney, Australia
Plastic Life, Level 2, Art Gallery of New South Wales, Sydney, Australia
Akihabara TV 2, Akihabara electrical stores, Tokyo, Japan
Signs of Life: Melbourne International Biennial, Telstra Exchange Building, Melbourne , Australia
1999
A Window Inside Outside, Gwangju City Art Museum, Gwangju, Korea
Probe, Australian Embassy, Beijing, China
The Liquid Medium:Video Art, Queensland Art Gallery, Brisbane, Australia
ARTificial Life, Artspace, Auckland, New Zealand
Akihabara TV, Akihabara electrical stores, Tokyo, Japan
The Persistence of Pop, Monash University Gallery, Melbourne, Australia
Signature Works, Australian Centre for Photography, Sydney, Australia
Art Life 21, Spiral TV, Spiral/Wacoal Art Centre, Tokyo, Japan
Byte Me, Bendigo Art Gallery, Bendigo, Victoria
Tolarno Galleries at the Moores Building, Perth Festival, Perth, Australia
Up the Road: Contemporary Artists out of the VCA, Australian Centre for Contemporary Art, Melbourne, Australia
1998
Metamorphosis, Mornington Peninsula Regional Art Gallery, Victoria, Australia
Hype: Fashion, Art and Advertising, RMIT Gallery, Melbourne, Australia
Natural Selection (Australian Perspecta 1997), Museum of Contemporary Art, Sydney, Australia
1997
Art=Advertising, Robert Lindsay Gallery, Melbourne, Australia
Lawyers, Guns and Money, Experimental Art Foundation, Adelaide, Australia
Second Tokyo International Photo Biennale, The Tokyo Metropolitan Museum of Photography, Tokyo, Japan
Fotofeis, Gallery of Modern Art, Glasgow, Scotland
Nothing Natural, Plimsoll Gallery, Hobart, Australia
Nothing Natural, Latrobe Regional Gallery, Morewll, Australia
Wild Kingdom, Institute of Modern Art, Brisbane, Australia
Techne, Perth Institute of Contemporary Arts, Perth , Australia
Photography is Dead! Long Live Photography!, Museum of Contemporary Art, Sydney, Australia
1996
Science Fiction/Social Fiction, Galerie Der Stadt Schwaz im Palais Enzenberg, Austria, Australia
Perception & Perspective, National Gallery of Victoria, Melbourne, Australia
Nothing Natural, The Basement Project, Melbourne, Australia
Mˆet & Chandon Touring Exhibition, National Gallery of Victoria, Melbourne, Australia
Mˆet & Chandon Touring Exhibition, Queensland Art Gallery, Brisbane, Australia
Mˆet & Chandon Touring Exhibition, Art Gallery of South Australia, Adelaide, Australia
Mˆet & Chandon Touring Exhibition, Art Gallery of New South Wales, Sydney, Australia
Cyber Cultures, Performance Space, Sydney, Australia
Alternative Realities tour, Pacific Cultural Centre, Taipei, Taiwan
Alternative Realities tour, Tamsui Centre of Arre, Tamsui, Taiwan
Alternative Realities tour, Mountain Art Gallary, Kaohsiung, Taiwan
Alternative Realities tour, Karnataka Chitrakala Parishath Gallery, Bangalore, India
Alternative Realities tour, Government Museum & Art Gallery, Chandigarh, India
Alternative Realities, Ian Potter Gallery, University of Melbourne, Melbourne, Australia
1995
Alternative Realities tour, University of Science and Technology, Hong Kong, China
Alternative Realities tour, Zhu Qizhan Gallery, Shanghai, China
Alternative Realities tour, Wang Fun Art Gallery, Beijing, China
Alternative Realities tour, Gallery Artbeam, Seoul, Korea
Technothelylogia: Technology for and by Women, Monash University Gallery, Melbourne, Australia
Since the Accident, The Basement Gallery, Melbourne, Australia
Our Parents' Children, National Gallery of Victoria, Melbourne, Australia
A Gathering of Shades, Temple Studio, Melbourne, Australia
Fleshly Worn, ASA Gallery, Aukland, New Zealand
Ada's Spawn, New Media Network, Melbourne, Australia
Plastiche (Curator), The Basement Project, Melbourne, Australia
Critical Mass, Arts Victoria Gallery, Melbourne, Australia
City Screens, Melbourne International Festival, Melbourne, Australia
1993
Deliquescence, 200 Gertrude Street, Melbourne, Australia
Deliquescence, Canberra Contemporary Art Space, Canberra, Australia
1992
Deliquescence, First Draft Gallery, Sydney, Australia
2012
Bild I Skolan, En Ingang I Samtidskonsten, Swedish Teachers Union, Jan, 2012, p. 26-27
RMIT Gallery, Imagining the Future (exhibition catalogue), RMIT Gallery, Melbourne, Jan, 2012, p. 50-51
Harrington, Zoe, Sculpture and the Enemies, Sculp & Enemies.com.au, Jan-March, 2012, p. 14-23
JD Talasek, Rick Welch, Kevin Finneran, Visual Culture and Evolution, an Online Symposium, University of Maryland, USA, 2012, p. 188-189
McDonald, Helen, Nearly Beloved, Patricia Piccinini, Piper Press, 2011
2011
Tony Ellwood, Ten Years of Contemporary Art. The James C Sourris AM Collection, Queensland Art Gallery, 2011, p. 138
Jane Messenger, Once Upon A Time (Exhibition Catalogue), Art Gallery of South Australia, 2011
Millner, Jacqueline, Conceptual Beauty, Artspace, Sydney, 2009, pp. 16-22, 106
2010
Robertson, Jean and McDaniel, Craig, Themes of Contemporary Art: Visual Art after 1980, Oxford University Press, 2010, pp. 264-266
Kwang-Suk, Lee, The Art and Cultural Politics of Cyber Avant-gardes, Thomson Publications, 2010, pp. 379-385
Engberg, Juliana, Relativity (exhibition catalogue), Art Gallery of Western Australia, 2010
Stadeus, Geert, and Snoeck, Patrick, Patricia Piccinini, Snoecks 2010, 2010, pp. 210-223
Bodeker, Katja and Hammer, Carmen, Wunderforschung, Nicolai, 2010, pp. 52-53
The Revival of Empty Spaces, Patricia Piccinini, Monthly Art Magazine, Mar-2010, pp. 72-77
Reilly, Maura, Curating Transnational Feminisms, Feminist Studies Magazine, Spring 2010, p.161
Hong, Kyoung-Han, Art in Post, Public Art, Feb-2010, pp. 142-143
Hong, Kyoung-Han, Patricia Piccinini (interview), Public Art, Mar-2010, p. 177
Chrudzimska-Uhera, Katarzyna, Niepewna przysztosc Rzezby: Patricia Piccinini, Lamus, Jul-1909, pp. 62-67
Clark, John, Biennials and the Circulation of Contemporary Asian Art, Yishu: Journal of Contemporary Chinese Art, 2009, p.38
Mori Art Museum, Medicine and Art: Imagining a future for Life and Love, Mori Art Museum, Tokyo, 2009, pp. 228-229
2009
Grehan, Helena, Performance, Ethics and Spectatorship in a Global Age, Palgrave Macmillan, 2009, pp. 8, 140, 142-3, 162-7, 187, 189
Ardenne, Paul, Art le Present: La creation plasicienne au tournant du XXI siecle, Editions du Regard, 2009, pp. 156, 184
Allemand, Lauranne, Denaro, Dolores, and team, Genipulation, Kunsthaus Centre d'art, 2009, pp. 116-119
Roos, Robert, Wonderland: Through the Looking Glass, Kunsthall Kade Amersfoort, Netherlands, 2009, pp. 80-83
Green, Erica, Colliding Worlds, Samstag Museum, University of Adelaide, 2009, pp. 1-3
Egan, Fiona, Born to be Wild: the Motorcycle in Australia, Penrith Regional Gallery, 2009, pp. 4, 28
Hackett, Edward, Reflections for Looking Forward, Sciencemag.com, Dec-2008, pp. 340-345
Korper Kurz nach der Geburt, Kunst und Unterricht, Kallmeyer, Jul-1909, p. 49
Warne-Smith, Drew, Up Next: Patricia Piccinini, The Weekend Australia Magazine, March 14-15, 2009, p. 7
Martain, Tim, Otherworldly Designs, The Mercury Magazine, March 21, 2009, p.2-3
Strickland, Katrina, Tasmania's Modern Take, The Weekend Australian Financial Review, April 9-13, 2009, p. 56
Levine, Stacey, Looking Together: Writers on Art, University of Washington Press, 2009, p. 36, 45
Neylan, John, Motherhood Statement, The Adelaide Review, Feb-2010, pp.30-31
Smallenburg, Sandra, Beeldende Kunst, NRC Handelsblad, May 1, 2009, p.8
The Phantasm of International Biennales, Monthly Art Magazine, Nov-2009, p. 116
Palmer, Maudie, Encounters with Australian Modern Art, Macmillan Art Publishing, 2009, pp. 246-247
Art and Australia, Current: Contemporary Art from Australia and New Zealand, Dott Publishing, 2009, pp. 256-259
2008
Haraway, Donna , When Species Meet, University of Minnesota Press, 2008, pp. 287-292, 387
Heartney, Eleanor, Art and Today, Phaidon Press, 2008, pp. 188-189
Hulsbosch, Marianne, Cambridge Visual Arts: Stage 4, Cambridge University Press, 2008, pp. 148-149
Slade, Lisa, The Thrall of the Skull, Neo Goth: Black is Back, 2008, pp. 24-26
Koop, Stuart, Beep Crackle: Contemporary art from the middle of nowhere, Institute of Modern Art, Sydney, 2008, pp. 126-135
Takamado, Her Highness, the Princess, Transcripts of Lectures, Osaka University of Arts, 2008, pp. 111-112
Kudo, Kiki, Post No Future, Kawade Shobo Shinsha Publishers, Japan, 2008, pp. 127-129
Braun, Bart, Nieuwe Dieren, Uitgeverji Veen Magazines, 2008, pp. 120-122
Zeitz, Lisa, Moped als Madonna: Das geheime Leben der Vespa, Kunstmarkt, February 23, 2008, p. 44
Foster Gage, Mark, Etiologies of Beauty: Architecture and the New Physics of Appearances, Perspecta 40: Monster, 2008, p. 93
Johnson, Ken, Some Shows for Escape, Some for Introspection, The New York Times, July 4, 2008, p. 30
Beare, Michael & Welfare, Phillippa, Just Imagine, Wollongong City Gallery, 2008, pp. 12-13
Cruz, Marcos, Designer Surgeons, Architectural Design, Oct-2008, p. 48
Saehrendt, Christian & Kittl, Steen, Sprachfuhrer Deutsch - Kunst, Kunst - Deutsch, Dumont Buchverlag, Koln, 2008, pp. 149-150
Suzanne Anker and JD Talasek, Visual Culture and Bioscience, University of Maryland, USA, 2008, p. 198
Queensland Art Gallery, Contemporary Australia: Optimism, Queensland Art Gallery, 2008, pp. 182-185
Fernandez Orgaz, Laura, (Tiernas) Criaturas, Artium, 2007
Haraway, Donna , Speculative Fabulations for Technoculture's Generations: Taking Care of Unexpected Country, (Tiernas) Criatures, 2007
2007
Alderton, Steven, Patricia Piccinini: Double Love Knot (exhibition catalogue), Lismore Regional Gallery, 2007
Hickson, Patricia, Hug or Run?, Hug: Recent Work By Patricia Piccinini, 2007
Rosenberg, Randy, Art in Action: Nature, Creativity and Our Collective Future, The Natural World Museum, 2007
Heartney, Eleanor, Worldwide Women, Art in America, June/July 2007, pp. 155-165
Blas, Susana, Patricia Piccinini: Documentary about the exhibition (Tiernas) Criatures at Artium , Metropolis, Spain, Sep-2007
Armstrong, Carol, Carol Armstrong on Global Feminisms and WACK!, Artforum International, 3030/00/0707, pp. 360-362
Were, Virginia, A Matter of Transformation, ArTnews New Zealand, Summer 2007, p. 60-62
Israel, Glenis, Essential Art, Jacaranda, 2007, pp. 202-206
Wallis, Geoffrey, Eye to i: The Self in Recent Art, Ballarat Fine Art Gallery, 2007, p.90
Smith, Royce W., Hug: Recent Work by Patricia Piccinini, Review, 3131/00/0707, pp. 42-45
Astrapellou, Marilena, Dear Scooter: Patricia Piccinini's Auto Art, Intersection, Spring 2007, p. 26
de Rooij, Marie Jeanne, Down Under: The Hague Sculpture 07 (exhibition catalogue), Veenman Publishers, 2007, pp. 76-80
Artundo, N, Science in Person, El Correo Espanol El Pueblo Vasco, October 4th, 2007, Cover, p. 77
Crespo, Txema G., Piccinini Bordering the Limits of Nature, El Pais, October 4th, 2007, p. 37
Lloyd, Tim, The Canvas Economy, The Advertiser Review, Sept.1, 2007, p. 1, 6,7
Macgregor, Elizabeth Ann, MCA Collection: New Acquisitions (exhibition catalogue), Museum of Contemporary Art, Sydney, 2007, p. 20
Ostbye, Guri Lorentzen, Barn + Kunst = Danning, Gorilo Forlag, Oslo, Norway, 2007, pp. 148-149
Toffoletti, Kim, Cyborgs and Barbie Dolls: Feminism, Popular Culture and the Posthuman Body, I.B. Tauris and Co. Ltd, 2007, pp. 133-159
Fujinami, Rieko, Nesting in an Ambiguous World, Dart International, Fall 2007, p. 36
Coslovich, Gabriella, NGV Masters private exhibition deal, Metro News and Reviews, 2007, p. 16
Bugden, Emma (ed), Patricia Piccinini: In Another Life (exhibition catalogue), City Gallery Wellington, 2006
Brennan, Stella, Border Patrol, In Another Life, 2006, pp. 6-9
2006
Winship, Ingrid, Genetics in a Genome Era, In Another Life, 2006, pp. 14-15
Weyns, Sara, Long Live Sculpture, Middelheim Museum, Antwerp, 2006, p. 13, pp.52-55
Setsuko, Nakamura, Prism: Contemporary Australian Art, Bridgestone Museum of Art, Ishibashi Foundation, 2006, pp 71-77
Doll, Nancy, Uneasy Nature, Weatherspoon Art Museum, 2006, pp. 42-47
Kardasz, Magda and Rees, Simon, High Tide: New Currents in art from Australia and New Zealand, Zacheta National Gallery of Art, Warsaw, 2006, pp. 79-80, 216
Larson, Kay, Beautiful Mutants, Art News, Jan-2006, pp. 106-109
Boucher, Brian, Patricia Piccinini at Robert Miller, Art in America, Jan-2006, p. 128
McRae, Vanessa, Supercharged: The Car in Contemporary Culture, Institute of Modern Art, Brisbane
Green, Charles, 2006: Contemporary Commonwealth, National Gallery of Victoria, Melbourne, Jun-1909, pp.98-101
Geczy, Adam and Genocchio, Benjamin, What is Installation? An Anthology of Writings on Australian Installation Art, Power Publications, Sydney, Jun-1909, pp. 301-305
Crombie, Isobel, Light Sensitive: Contemporary Australian Photography from the Loti Smorgon Fund, National Gallery of Victoria, Melbourne, Jun-1909, pp. 14, 110, plate 10
Reena, Jana, Review of Patricia Piccinini: Nature's Little Helpers at Robert Miller Gallery, tema celeste contemporary art, no. 113, p. 85
York, Hong Cing-fong Hsiao, Artist of the Year / Asia Live, Art Taipei, 2006, 2006, Cover, first 10 pages.
Slade, Lisa, Strange Cargo (exhibition catalogue), Newcastle Region Art Gallery, 2006, p. 6, 8, 13, 52,53
Davies, Suzanne, The Idea of the Animal (exhibition catalogue), RMIT Gallery, 2006
Tucker, Anne, Endangered Species: Patricia Piccinini and the Human Condition, Juxtapoz, February, pp. 72-77
Riley, Jan, Patricia Piccinini, Sculpture Magazine, Vol 25, No 7, September 2006, p. 75
Smith, Jason, Epic (exhibition catalogue), Lismore Regional Gallery, 2006, cover, p.5
Perram, Richard, Home Goal (Exhibition catalogue), Bathurst Regional Art Gallery, 2006
Lippert-Rasmussen, Kasper & Balling, Gert, Det Menneskelige Eksperiment, Museum Tusculanums Forlag, 2006, p. 233
Miller, Christopher, Patricia Piccinini: Nature's Little Helpers, Robert Miller Gallery, 2005
Kent, Rachel, Nature is as Nature Does: Patricia Piccinini's Super-Natural Creations, Nature's Little Helpers, 2005
2005
Havilah, Lisa, C'town Bling, Campbelltown Arts Centre, 2005
Mitzevich, Nick, Newcastle Region Art Gallery: Highlights from the Collection, Newcastle Region Art Gallery, 2005, p. 63
Delany, Max, Extra-Aesthetic: 25 Views of the Monash University Collection, Monash University Museum of Art, Melbourne, 2005, pp. 50-51
Wilson, Beth, Brand X Art, Chronogram, Apr-2005
Glueck, Grace, The line between species shifts and a show explores and move, The New York Times, Jul-2026
Genocchio, Benjamin, Images of Reality, In Three Dimensions, The New York Times, May-2026
Glover, Michael, Masters of the dark arts, The Times, Sep-2029
Smee, Sebastian, Nature's Little Helpers make tasty omelette, The Australian
Tofts, Darren, Interzone: Media Arts in Australia, Craftsman House, 2005, pp. 98-101
Welschen, Fred, Living Apart Together (exhibition catalogue), Odapark Venray, 2005
Nowotny, Helga, Unersattliche Neugier: Innovation in einer fragilen Zukunft, Die Deutsche Bibbliothek, 2005, Cover
Savie, Chris, Untitled article, Adbusters, 2005
Rees, Simon, Adelaide Biennial of Australian Art exhibition catalogue, AGSA, 2004
Patricia Piccinini: We are Family, BT, Vol. 56, no. 845, pp 15-17
2004
Bec, Luis, The Demonstrous, Monsters, Ghosts and Aliens: The politics of representation in the digital era, F. Javier Pascual, Madrid, 2004, p 60
Bourke, Gregory, Bloom: Mutation,Toxicity and the Sublime (exhibition catalogue), Govett Brewster Art Gallery, 2004
Crisp, Lyndall, Freaks of Nature, Financial Review Weekend, 29-30 May 2004, p. 35
Israel, Glenis, Senior Artwise 2: Visual Arts 11-12, Jacaranda, 2004, pp. 193-201
Eisenmann-Klein, Marita, Reconstruction and updating in plastic surgery in 'UmBauhaus: Updating Modernism', Jovis Verlag, Berlin, 2004, p. 56
Glass, Alexie & Tutton, Sarah, I thought I knew but I was wrong: New video art from Australia (exhibition catalogue), Asialink / ACMI, Melbourne, 2004
Gibson, Ross, Written with Darkness (exhibition catalogue), University of Technology, Sydney
Lovelace, Carey, Flesh & Feminism, Ms., Spring 2004, pp. 65-69
Palmer, Daniel, Medium Without a Memory: Australian Video Art in 'I thought I knew but I was wrong', Asialink / ACMI, Melbourne, 2004
Piccinini, Patricia, We are Family Lecture, Hara Museum Review, No 64, Spring 2004, pp. 6-7
Plant, Simon, Art Breaking, Herald Sun Weekend, 07-May-2004, pp.6-7
Rhodes, Kate, Patricia Piccinini's Desert Rider (Mountain), Art Bulletin of Victoria, Australia, No 44, 2004, pp. 90-91
Villaca, Nizia, The Multiplication of Bodies in Artistic Communication in 'Metacorpos' (exhibition catalogue), Paco das Artes,Brasil, 2004, pp 56-7, 64-5, 100, 142
Anderson, Karen, Monstrorum Historia: Biotech and Teriomorphism, Cluster, No. 4, 2004, pp. 144-151
Vielhaber, Christiane, Junge Kunst ruckt nach vorn, Das Kunst Magazin, Vol. 11, 2004, p. 209
Wertheim, Margaret & Christine, Teratology in 'Patricia Piccinini: We Are Family' (Linda Michael, Ed), Australia Council, 2003
Smith, Jason, Patricia Piccinini: Sandman (exhibition catalogue), National Gallery of Victoria, Melbourne, 2003
2003
Antony, Rachael, We Are Family: Art by Patricia Piccinini, The Big Issue, no. 179, 9-24 June 2003, p. 11
Block, Andrew, Arts: Bizarre Beasts, Qantas, no. 115, January 2003, p. 61
Boyd, Chris, Visions of a Strange New World, The Weekend Australian Financial Review
Clifford, Andrew, Attack of the Clones, The Sunday Star Times, New Zealand, December 28 2003, p. 22
Crawford, Ashley, Patricia Piccinini in 'see here now, Vizard Foundation Art Collection of the 1990s' (exhibition catalogue), The Ian Potter Museum of Art, Melbourne, 2003, pp. 108-109
Eccles, Jeremy, For the Love of Her Art, The Canberra Times, 23-May-2003, pp. 6-7
Fortescue, Elisabeth, Meeting a boy who isn't there, The Daily Telegraph, 16-Aug-2003, p. 34
Foster, Alasdair, Interview: Patricia Piccinini, Photofile, no. 68, April 2003, pp. 18-23
Glass, Alexie, Patricia Piccinini, res, March-April 2003, p. 43
Kinsman, Chloe, Patricia Piccinini (interview), tema celeste contemporary art, no. 98, pp. 58-61
Patricia Piccinini in 'Havana Biennale 2003' (exhibition catalogue) , Centre for Contemporary Art, Havana, 2003, pp. 180, 340-341
Lynn, Victoria, Patricia Piccinini in 'Face Up: Contemporary Art from Australia' (exhibition catalogue), Kantz, Berlin, Germany, 2003
McDonald Crowley, Amanda, Creative Encounters: The Art/Science of Collaboration, Sarai Reader, Jan-2003, pp. 227-235
Michael, Linda, Patricia Piccinini: Still life with Stem Cells in 'Monash University Collection: Three Decades of Collecting', Monash University Museum of Art, Melbourne, 2003, p. 113
Michael, Linda, Love Me Love My Lump: Patricia Piccinini Photographs (exhibition catalogue), Monash University Museum of Art, Melbourne, 2003
Smith, Bernard, Patricia Piccinini in 'Two Centuries of Australian Art', Thames and Hudson, Victoria, 2003, p.162
Carroll, Alison, Sun Gazing: The Australia-Japan Art Exhibitions Touring program 2002-2004, The Asialink Centre, The University of Melbourne, 2004
McAuliffe, Chris, and Harvey, Sue, see here now: Visard Foundation Art Collection of the 1990s, Thames and Hudson, Victoria, 2003, pp. 108-109
Strickland, Katrina, Mother Love, The Weekend Australian, 2-4 May 2003, pp. 14-17
Woodcock, Ben, Freak Show, State of the Arts, pp. 89-90
Fitzgerald, Michael, Driving out Demons, Time (Pacific), 29-Jun-2003, pp. 62-64.
Genocchio, Benjamin, Genetically Modified Sculpture, The Australian, 11-12 January 2003, Review p. 21
Genocchio, Benjamin, Piccinini and friends carve out a name in Venice, The Australian, 14-15 June 2003, p. 3
Gill, Raymond, Family Values, The Age, 12-Jun-2003, A3 p. 12
Hill, Peter, The Artist & Her Offspring, The Sydney Morning Herald, 25-26 January 2003, Spectrum pp. 6-7
Hutak, Michael, The Far-out Pavilion, The Bulletin, 23-Jun-2003, p. 75
Ingram, Terry, Happy as a pig in Venice: Piccinini parties to celebrate success, The Australian Financial Review, 25-Jun-2003, p. 43
Lethbridge, Brett, Beauty Beyond Bizarre, The Courier-Mail, 13-Jun-2003, p. 30
Naylor, Stephen, Feeling the heat at the 50th Venice Biennale, Art Monthly Australia, no. 161, July 2003, pp. 34-39
Nelson, Robert, 'Clever Technology, Serious Questions', The Age, 03-Jan-2003, Arts p. 17
Rees, Simon, Patricia Piccinini at ACCA, Flash Art, May-June 2003, p. 84
Turner, Jonathan, Alien Nation, ARTnews, vol. 102, no. 8, September 2003, p. 107
Lindinger, Verlag and Schmid, Uncompromising Mindset, Kunst Jahr 2003, 2003, p. 26, 28
Kent, Rachel (ed), Call of the Wild: Patricia Piccinini (exhibition catalogue), Museum of Contemporary Art, Sydney, 2002
Engberg, Juliana, Patricia Piccinini in '(The world may be) fantastic' Ewen McDonald (ed.) (exhibition catalogue), Biennale of Sydney, 2002
2002
Rowell, Amanda, Autoerotic (exhibition catalogue), Roslyn Oxley9 Gallery, Sydney, 2002
Engberg, Juliana, Retrospectology: The World According to Patricia Piccinini (exhibition catalogue), ACCA, Melbourne, 2002
Smith, Jason, Sandman: Patricia Piccinini (exhibition catalogue), National Gallery of Victoria, Melbourne, 2002
Barragan, Paco, Patricia Piccinini in 'El Arte Que Viene (The Art to Come)', Subastas Siglo, Madrid, 2002, p. 236
Faulkner, Jane, Patricia in Wonderland, The Age, 26-Nov-2002, p. 13
Foster, Alasdair, Patricia Piccinini in 'Blink: 100 photographers 010 curators 010 writers', London: Phaidon Press, 2002, pp. 300-304
Greenstein, M. A., Arte o BaÒo del sol, Lapiz, no. 179/180, 2002, p. 136
McLean, Sandra, When Push Becomes Shove, The Courier Mail, 26-Jul-2002, p. 2
Michael, Linda, Love Me Love My Lump, The Diplomat, December 2002 - January 2003, pp. 45-46
Millner, Jacqueline, Love in the Time of Intelligent Machines, Artlink, Vol 21 no 4, 2002, p. 42-47
Palmer, Daniel, Patricia Piccinini, Frieze: Contemporary Art and Culture, Issue 65, 2002, p. 93-94
Papastergiadis, Nikos, One Night Love, Object, no. 39, pp. 50-52
Piccinini, Patricia, Life in the Media Landscape in 'Prefiguring Cyberculture: An Intellectual History', Power Publications, University of Sydney, 2002, p. 202-203_
Bennet, Oliver, The quality of Mersey: Liverpool Biennale/International 2002, The Observer, UK, 14-Sep-2000
Green, Charles, Patricia Piccinini, Artforum, Apr-2002, p. 194
Hill, Peter, Weird Science, The Sydney Morning Herald, 30 August-5 September 2002, Metro p. 26
Hynes, Victoria, Driven, The Sydney Morning Herald, 24-30 May 2002
McLean, Sandra, When Push Becomes Shove, The Courier Mail, 26-Jul-2002, p. 2
Millner, Jacqueline, Storytelling, Eyeline, no. 49, Spring 2002, pp. 30-32
Toffoletti, Kim, Patricia Piccinini; Lumps and Stem Cells, Eyeline, no. 50, Summer 2002/2003, p. 47
Michael, Linda, One Night Love (exhibition catalogue), Tolarno Galleries, Melbourne
Hennessey, Peter, Patricia Piccinini: Installations in 'What is Installation? An Anthology of Writings on Australian Installation Art', Power Publications, Sydney, 2001, p. 301
2001
Hutak, Michael, Perfect Planet, Professionally Reproduced, Australian Art Collector, Issue 18, October 2001, p. 65
McDonald, Helen, Erotic Ambiguities: The Female Nude in Art, Routledge, London, 2001, pp. 200-204
Crawford, Ashley, Contemporary Australian Art, An Odd Creature from Down Under, Art and Australia ARCO insert, Vol 37, no. 2, 2001, p. 2
Lancashire, Rebecca, Piccinini's Monsters, The Age, 25-May-2001, Extra p. 3
McCulloch-Uehlin, Susan, Virtual Visions, The Australian, 26-Oct-2001, Arts p. 9
Travis, Lara, Vivid Vehicles of Delight for Lovers of One Night, The Age, 26-Oct-2001, p. 22
Webb, Caroline, Young Collectables, The Age, 25-May-2001, Today p. 1
Engberg, Juliana, Essay in 'Atmosphere/Autosphere/Biosphere: Works by Patricia Piccinini', Drome, Melbourne, 2000
Colless, Edward, Essay in 'Atmosphere/Autosphere/Biosphere: Works by Patricia Piccinini', Drome, Melbourne, 2000
2000
Yamagata, Hiroo, Essay in 'Atmosphere/Autosphere/Biosphere: Works by Patricia Piccinini', Drome, Melbourne, 2000
Leggett, Mike, Patricia Piccinini, Photofile, no. 60, August 2000, p. 8-11
Miki, Akiko, Very New Art 2000: 100 Artists, BT Art Magazine, vol. 52, no. 782, January 2000, p. 188-189
Millner, Jacqueline, Afterword: Perspective on Perspecta in Martin Thomas (ed.) 'uncertain ground', Art Gallery of New South Wales, Sydney, 2000, p. 170
Pennings, Mark, Enchantment, Technoscience and Desire, Art and Australia, vol. 37, no. 4, 2000, pp. 556-565
Murphy, Bernice, Patricia Piccinini in Zeitgeˆssische Fotokunst Aus Australien, Braus im Wachter Verlag, Heidleberg, Germany, 2000, pp. 26-31
Australia's 50 Most Collectable Artists, Australian Art Collector, Issue 11, January 2000, p. 84
Genocchio, Benjamin, Reality Check via Plastic Bimbo, The Weekend Australian, 04-Aug-2000, Review p. 18
Hoffman, Frank, Report from Kwangju: Monoculture and its Discontents, Art in America, Oct-2000, p. 74
Hong-Hee, Kim, Kwangju Biennial, Flash Art, Summer 2000, p. 100
James, Bruce, I'll have what she's having, The Sydney Morning Herald, 01-Feb-2000, Arts p. 12
Scarff, Julian, Probe, Art Asia Pacific, Issue 27, 2000, pp. 28-30
Engberg, Juliana, Essay in 'Signs of Life: Melbourne International Biennial' (exhibition catalogue), City of Melbourne, 1999
Hatanaka, Minoru, Plasticology, InterCommunication, no. 29, Summer 1999, p. 189
1999
Stanhope, Zara, The Persistence of Pop (exhibition catalogue), Monash University Gallery, Melbourne, 1999
Sun-Hee, Kim, A Window Inside Outside (exhibition catalogue), Gwangju City Art Museum, Korea, 1999
Williamson, Clare, Digitalis Australis, History of Photography, no. 2, vol. 23, Summer 1999, pp. 107-113
Clabburn, Anna, Baby Trucks Dump on Mass Consumption, The Age, 16-Mar-1999, Arts p. 17
Colless, Edward, Patricia Piccinini, Art + Text, no. 66, October 1999, p. 79-80
Frost, Andrew, Australia' s 50 Most Collectable Artists, Australian Art Collector, no. 7, 1999, p. 50
Sinclair, Jenny, Oh Baby, It's a Truck! , The Age, 15-Mar-1999, IT p. 2
Taylor, Kerry, Artist's Infatuation with a Baby Beast, The Age, 14-Mar-1999, News p. 7
Hennessey, Peter, Essay in 'Sacred and Profane' (exhibition catalogue), 1998 Adelaide Festival Visual Arts Program, 1998
Sansom, Gareth, The Long and Winding Road in 'Up the Road: Contemporary Artists out of the Victorian College of the Arts', ACCA, Melbourne, 1998
1998
Geczy, Adam, Australian Perspecta, Eyeline, no. 35, Summer, 1998, p. 40
Riley, Vikki, Machine Translations & Other Digital Heresies, Photofile, no. 53, April 1998, pp. 58-61
Pennings, Mark, Art = Advertising (exhibition catalogue), Robert Lindsay Gallery, Melbourne, 1997
Hennessey, Peter, Plastic Realist in Blair French (ed.) 'Photo Files: An Australian Photography Reader', Power Institute and ACP, Sydney, 1999, pp. 247-254
1997
Burne, Philippa, Up the Garden Path, HQ Magazine, no. 54, Sept 1997, p. 23
Johnson, Anna, Young at Art, Good Weekend, April 26, 1997, p. 36
Uemura, Hisashi, LUMP, Gap Magazine, October, 1997, pp. 105-107
Maloney, Evan, Consuming Art, Art Monthly, no. 99, May 1997, p. 17
Rooney, Robert, Arts on Friday: Art=Advertising, The Australian, 13-Mar-1997, p. 12
Hennessey, Peter and Gregory, Chris, Patricia Piccinini: Your Time Starts Now... (exhibition brochure), Contemporary Art Centre of South Australia, 1996
Schubert, Robert, Patricia Piccinini: Fetal Futures, Art + Text, no. 54, May 1996, pp. 33-35
1996
Clabburn, Anna, There's Something in Nothing Natural, Mesh, no. 8/9, Autumn 1996, pp. 27-28
Cooper, Jackie, Natural Born Artist, The Australian, 30-Nov-1996, p.36
Hill, Peter, Cameras, Lies and Photographic Exhibits, The Bulletin, 16-Sep-1996, p. 100
Honeysett, Stuart, Computer Art a Child of Invention, The Australian, 13-May-1996, p. 7
McFarlane, Robert, Looking to the Future, The Sydney Morning Herald, 27-Aug-1996, p. 11
Owen, Kristin and Simon Plant, Bubbly Prospects, Herald Sun, 08-Feb-1996, p. 33
Pennings, Mark, Patricia Piccinini: Your Time Starts Now..., Eyeline, Summer 1996, p. 34
Rooney, Robert, Melbourne Art, The Australian, 23-May-1996, p. 18
Rooney, Robert, Mˆet & Chandon Touring Exhibition, The Australian, 22-Feb-1996, p. 13
Stanhope, Zara, Mapping the Code: Artists Conceiving Data-bodies, Mesh, no. 8/9, Autumn 1996, pp. 16-17
Kent, Rachel, Alternative Realities: Australian Artists Working with Technology (exhibition catalogue), Ian Potter Gallery, University of Melbourne, 1995
Latham, Mary Ann, Inside Out: An Interview with Patricia Piccinini, Aedon, Nov-1995
1995
Stanhope, Zara, Technothelylogia: Technology of and by Women (exhibition catalogue), Monash University Gallery, Melbourne, 1995
Cookes, Thomas, Multimedia Spawns Art, The Age, 11-Jul-1995, p. 21
Gibson, Tom, Patricia Piccinini, Art + Text, no. 50, January 1995, p. 66
McKenzie, Robyn, Hi-Tech Art Flows into the Mainstream, The Age, 25-Jul-1995, p. 23
Hennessey, Peter, Patricia Piccinini: Indivisibles (exhibition brochure), The Basement Project, Melbourne, 1994
Gregory, Chris, Indivisibles, Eyeline, Spring 1994, pp. 42-43
1994
Marsh, Anne, City Theme Rules, Herald Sun, 16-May-1994, p. 47
Storey, Rohan, The City Screen, Monument, vol. 1 no. 2, 1994, p. 64
Teffer, Nicola, Body with Organs, Photofile, no. 42, June 1994, pp. 6-7
Barren, Sonia, Pushing the Limits of Acceptability, The Canberra Times, 16-Feb-1993, p. 25
Hawker, Rosemary, Heretical Gestures at the Birth of Enlightenment, Eyeline, no. 15, 1991, pp. 16-20
1993
Jones, Mathew, The Body Dis-corporate: Patricia Piccinini, Agenda, no. 20/21, November 1991, p. 18
1991
Thompson, Kerstin, Charles Williams Gallery, Transition, no. 36/37, Summer 1991, pp. 172-17
