Most of us are happy to engage the idea of a creature engineered to help an endangered species, but are much less comfortable with the idea of it getting too close. The issues that interest me are important throughout the developed world, but in my work they retain a particular Australian nuance.

I understand that disappointment. My work is about both the importance and dangers of progress. We see this in works like the Young Family or Truck Babies, where there is a strong tension between assisted and independent reproduction. I do have my own ideas about what the best thing to do might be, but I'm willing to admit that I'm probably wrong. Is the frontier that separates the natural from the artificial really clear? Her work i… How important is your Australian background when it comes to choosing the themes you pursue? I love it when people realise that all this stuff is actually about our lives today. Children embody a number of the key issues in my work. There are certain hyperrealist sculptors today whose work has generated tremendous enthusiasm and expectation. If we choose to customise life then we must be prepared to embrace the outcomes. It can easily be argued that such a focus on empathy might distract from a true rational understanding of the issues, but in fact that is exactly what I am aiming to do. Plus, what reaction do you hope to provoke among the visitors to the exhibition in ARTIUM? To create this astonishing artificial world, you undoubtedly possess not only a tremendous imagination but also certain scientific knowledge. The interview that appears below was made during May and June, 2007. However, things change if you have a mother or son who might need it. The speed of these advances make us feel defenceless. You need to remember that the gods of the ancient myths had great power but also very human motivations. Patricia Piccinini’s artistic practice spans across many mediums, including installation art, paint-ing, sculpture, video and photography. Similarly, in pointing out the confusion of "creation with control", what I am referring to here is the fact that it is impossible to really calculate all of the ramifications of our actions when it comes to things as complicated as organisms or ecosystems. Often with a terrifying appearance, her work is neither imagined as the nightmare future environmental ruin, nor the brave new world of errorless scientific process. Strangely, I am actually a firm believer in 'progress' - which I understand to mean the idea that the world my children will inhabit will be a better than it was when I was born. During that time I hoped and prayed that science - medicine - could help our family. The Institute for Cultural Exchange proudly present the exhibition ¿Lebensecht? Are you not worried that your work might be regarded as a spectacle full of special effects, somewhat like a theme park, and that the message may be distorted? 50 Jahre Hyperrealistische Skulptur at the Osthaus Museum Hagen.

Our exhibition project Patricia Piccinini- Omfamna framtiden was shown at the Borås Konstmuseum from February 8 to August 30, 2020. LF: Lastly, I would like to comment on a scientific text I read recently that said that uncontrolled gene manipulation could become more dangerous than radioactivity. I don't think that you really can - or indeed should - try to understand the ethics of something without emotions. In the end there was no help but I still feel that I am waiting for science to help; to help me, to help my family and to help the world I live in. I am the first to acknowledge the importance of their exceptional detail and quality in making the pieces succeed but that is not my main interest. A fickle existence, marked by the dizzying speed at which technology advances, and the impact of it's contradictory and, at times, unpredictable consequences. However, most viewers find their closeness difficult.

Patricia Piccinini’s visions of nature and science have drawn international attention to her work. The strange world that she creates, although we may findthis difficult to accept, resides very close to our daily reality. I find that most people have a good sense of the processes and issues that I work with. I do not make any pronouncements on what the world will or should be like. Australian artist Patricia Piccinini lets us explore the future. We see this idea clearly in SO2 or Still Life With Stem Cells. Work shown: Defender. Her sub-ject matter lingers on the underlying themes of genetics and mutation, and consequently life it-self, which she has explored consistently since she began working professionally as an artist. These drawings are less glossy and spectacular than other ways of presenting these figures, and their warmth and domesticity suits the fragility of the beings and their relationships. The pyjama-clad child seems completely at ease with the Surrogate, as if she were his pet dog.

We have always lived in a world of uncontrolled genetic change - that's how we got here.

PP: I guess I do often target human arrogance in my work, but I think it is also important to understand my ambiguous feelings about 'wrong' outcomes.

LF: In your writings, you have made a number of declarations such as "Some things once done, are not easily undone", "doing the wrong things for the right reasons", "The danger here is to confuse creation with control. With her hybrid, lifelike creatures, Piccinini opens up new, possible perspectives on the future of mankind and how to handle them. “This wilderness is my universe!” (Patricia Piccinini, 2018) Australian artist Patricia Piccinini lets us explore the future. If it came down to a choice between her life or my son's it would not be a difficult decision for me to make. The exhibition will be on display from 23 August 2020 to 31 January 2021. They tried living in Italy, but moved on to Canberra, where Piccinini did her schooling. It is much closer than it seems.

On the whole, I see customisation as a positive force, and the creation of new forms and beings is something that I celebrate.

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