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They range from the aggressor in to that montage of corpses cobbled together by Victor Frankenstein to our current favorites—vampires, zombies, and serial killers.Sometimes monsters can barely be distinguished from angels, as in the hilarious UFO abduction stories that, like go-go boots, had their faddish moment and still occasionally show up at parties.She was inspired by the idea of the ‘artificial’ world merging with reality and her own personal fantasy of what the future will become if we continue to progress in biological engineering.
It’s invigorating because it isn’t another business-as-usual record of a museum playing it safe with crowd-pleasers such as the Impressionists or Andy Warhol, but rather a lively demonstration of a museum engaged with the primordial dark side of the human psyche.
It’s disturbing for the same reason, and it’s meant to be.
This can create a level of empathy with the audience.
Piccinini is attempting to get everybody to question or think about the consequences of biological engineering.
The creature in ‘The Young Family’ has certain similarities to the dead creature in Salvador Dali’s ‘The persistence of memory’.
‘The Young Family’ allures people in because of it very realistic appearance, however when drawn closer the audience notices it a dream-like, obscure creature that has been imagined by the artist and begin to have feelings of disgust or pity towards the creature.
The human like realness of the skin along with the pig like representation of the teats and ears symbolises the idea scientist have on growing human organs in other species such as pigs.
Piccinini is starting to question the bioethics we have when it comes to science and technology.
The work is open to the general public however the main audience would mainly be people interested in art and have some level of art knowledge.
Piccinini was influenced by the world of science and biotechnologies.