Throughput in The Artworks of Patricia Piccinini

The definition of throughput Is a grey area. There are multiple definitions, the first being the dictionary definition. The dictionary definition of throughput is ‘the amount of material or items passing through a system or process’. However, this definition is quite different to what I will be calling the ‘art definition’. The art definition of throughput is ‘a journey or a process’ which Is what I will be focusing on in this writing.

A great example of throughput in art would be in Patricia Piccinini’s work from 2006, ‘The Gathering’. ‘The Gathering’ is a piece of video media created and directed by Piccinini in 2006, with animations from Dennis Daniel, who has work extensively with Piccinini in the past with projects such as computer modelling and animation.

The central theme behind ‘The Gathering’ is mainly vulnerability and innocence of and within the mind of a child. The use of children is common and repetitive throughout the artistic history of Piccinini. In her words, “Children embody a number of the key issues in my work. Obviously, they directly express the idea of genetics – both natural and artificial – but beyond that they also imply the responsibilities that a creator has to their creations.” She follows this statement with “The innocence and vulnerability of children is powerfully emotive and evokes empathy.” The key word within this quote is empathy. Empathy is used within her work to connect the audience/ce to the work and take them from being single viewers and making them feel as If they are part of the experience that the artwork creates.

The atmosphere of ‘The Gathering’ is ominous and unsure. We as a viewer of this work, are puzzling what is happening and why, in the opening and following shots, we are being led through a seemingly abandoned building. When we reach the main scene, the master bedroom and find the child that Piccinini so avidly talks about in her artist statement, we are confused as to her unconsciousness. Although we are unsure of her situation, her innocence combats the darkness and gloomy mood of the rest of the house. Her bright clothes and aura starkly contrast the surroundings which appear shades of brown and grey. As the time passes, we as the audience are still unaware of what is to come, however, the mood suggests to us that it is not positive. Later, out of the curtains appear several creatures that visually, look like rabbits. They ominously surround the girl and dread immediately fills the hearts of the audience, as the aesthetic of the video has set the mood. However, the creatures only wanted to show the girl, who is still unconscious, their babies. And so, the video ends, with the mother creature giving birth, an act Piccinini says is “a commonality between species as well as a gesture of independence”. The video is confusing and deceitful. However, one thing is clear. We, as an audience, empathised with the child, and wanted the best for her, even fearing as the creatures approached her visually lifeless body. Her innocence and vulnerability in the situation worrying us. This proved Piccinini’s point of how children are emotive beings, that allow others to feel more emotional based off the situation.

So, how exactly does Piccinini’s work ‘The Gathering’ link back to our modern, technology driven world. Well, it’s a stretch but you could say that the innocence and vulnerability is manipulated by our world of technology and social ideals and standards are almost force fed down the throats of the young and allowed to soak into children’s brain sponge via social media and the internet in general. Like I have said previously, this is a stretch but the two links together quite nicely, and it makes a lot of sense to link these two prevalent, central ideas together.

The second and last piece of artwork by Piccinini is called ‘The Welcome Guest’. ‘The Welcome Guest’ was created by Piccinini in 2011.

The word depicts a creature with extended nails with a youthful appearance. The creature is reminiscent of Gollum from the ‘Lord of the Rings’ franchise. The creature stands on a bed, seemingly embracing a child who gives a gleeful expression, showing happiness to the viewer. Perched on the end of the bed is a taxidermized peacock. This is the second artwork that of Piccinini’s that a child has been the central theme. It is interesting how she as an artist, uses the innocence of children to create a contrast with the harshness of the deformity’s she creates. It creates an interesting juxtaposition that is pleasing to the eye.

Going back to the original idea of technology, it is common for Piccinini to include the themes of technology into her work, as she herself has worked in the computer department, which helps her to create her creatures. Donna Haraway writes “Her visual and sculptural art is about worlding; i.e., naturaltechnical” This newfound word that Donna mentions suggests that Piccininis work, although formed on a computer because naturalistic when put into form in her studio. On top of this, the original idea of children’s minds being so vulnerable and innocent that the creature Piccinini creates could be a representation of the internet. This being shown through, peaceful looking but housing some true terror within, much like the look of Piccininis creations. This all links back to throughput within art.

As for a journey, it’s quite simple. All of Piccininis works are an emotional journey for the audience. The original sense of fear when they first see one of Piccinini’s creations looming over a child or even on their own. However, that sense of fear is lost once the audience see how hyper realistic and occasionally peaceful the creatures truly are, much like in ‘The Gathering’ and ‘The Welcome Guest’ where the creatures have no malicious intentions at all. This takes the viewers on an emotional, one-way journey.

So, in conclusion, throughput is visually and conceptually shown through the works of artists like Patricia Piccinini. The works are both interesting and meaningful and that, is what throughput truly is about.