The sculptures, while at times unsettling, are also incredibly intimate. When someone scrolls past a pretty image it is disposable, but when someone takes their own pic, it becomes part of their experience. I definitely see the finished suits as standalone objects, however, it's also so important to approach each suit with care and respect, because they still represent actual individuals. Ultra realistic bodysuit with penis. 'I try to curate, whenever possible, the environment that my work is seen in'. A woman chose to wear a male body to confront her fear and personal conflict with it. In the sessions I've experienced a myriad of responses.
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Moving a person out of their comfort zone is the first step in achieving vulnerability, and in that space, a person may allow themselves to be impacted. Bodysuit underwear for men. Every day we have to make it our own; tailor, adorn and modify it to suit our identity at the moment. DB: what's next for sarah sitkin? When I take a life cast of someone's head, almost every time, the person responds to their own lifeless, unadorned replica with disbelief and rejection.
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Unable to contort the face itself into its best pose, the replica can feel like a betrayal of truth. DB: are there any mediums you have explored that you're keen to experiment with? For sitkin, the body itself becomes a canvas to be torn apart and manipulated. Does creating pieces specifically for display in a gallery context change the way you approach a project, or is your process always the same regardless? DB: I know you're also really interested in photography and I'm interested in hearing your thoughts on how that ties into the other avenues of your practice. It's never a bank slate, we constantly have to find a way to work in a constant influx of aging, hormones, scar tissue, disease, etc. Ultra realistic bodysuit with penis growth. I'm pretty out of touch with pop music and culture. DB: your work kind of eschews categorisation—how do you see yourself in relation to the 'conventional' art world? There were several sessions that had an impact in ways I didn't foresee; a trans person was able to see themselves with a body they identify with, and solidified their understanding of themselves. Combining an eclectic mix of materials, sitkin's work consists of hyper-realistic molds of the human form which toy with and tear apart the preconceptions we have about our own bodies, and the bodies of those around us. Most all the ideas I have come from concepts I'm battling with internally every day; body dysmorphia, nihilism, transcendence, ageing, and social constructs. With the accessibility of photography (everyone has a cameraphone), the ability to curate identity through image-based social media, and the culture of individualism—building experiences that facilitate other people documenting my artwork seems necessary if I want to connect with my audience. DB: who or what are some of your influences as an artist? Removing the boundaries between the audience and the art allows the experience to become their own.
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It becomes a medium of storytelling, of self interrogation and of technical artistry. All images courtesy of the artist. Noses, mouths, eyes and skin are things we all have a fairly intimate relationship with, and changing the way we present these features can seem integral to our sense of identity. 'I am deliberately making work that aims to bring the audience to a state of vulnerability'. A diverse digital database that acts as a valuable guide in gaining insight and information about a product directly from the manufacturer, and serves as a rich reference point in developing a project or scheme. It forces us to confront the less 'curated' sides of the human body, and it's an aspect that artist sarah sitkin is fascinated with. Designboom: can you talk a bit about your background as an artist: how you first started making art, where the impulse came from and when you began to make these sculptural, body-focused pieces? Sarah sitkin: I started making art in my bedroom as a kid with stuff my dad would bring home from work.
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Combining sculpture, photography, SFX, body art, and just plain unadorned oddity, the strange worlds suggested by her creations are as dreamlike as they are nightmarish. To present a body as separate from the self—as a garment for the self. To what extent do you feel the personalities or experiences of your real-life subjects are retained by the finished molds, or, once complete, do you see the suits as standalone objects in their own right? DB: can you tell us about your most recent exhibition 'bodysuits'? Working within gallery walls is actually exciting right now because the opportunity to show work in person opens up the possibility to interact with the public in new and profound ways. There's a subtle discrepancy between what we think we look like and the reality of our appearance. We sweat, suffer and bleed to try and steer it into our own direction. I suppose doing an interview with someone who's body was molded for the show would be an interesting read. 'bodies are volatile icons despite their banal ubiquity'. The artist's most recent exhibition BODYSUITS took place at LA's superchief gallery. I'm finally coming into myself as an artist in the past couple of years, learning how to fuse my craftsmanship with concept to achieve a complete idea.
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A young person was able to wear ageing skin to reconnect with the present moment. SS: 'creepy' and horror' are terms I struggle to transcend. Designboom caught up with sitkin recently to talk about the exhibition, as well her background as an artist and plans for the future. I try and insulate myself from trends and entertainment media. I never went to art school (in fact I never even graduated high school). I imagine a virtual universe where I can create without obeying physics, make no physical waste, and make liberal use of the 'undo' button. This de-personification allows us to view our physical form without familiarity, and we are confronted with the inconsistency between how we appear vs how we exist in our minds. DB: what is the most difficult part of the human body to replicate, and what is your favorite part to work on?
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Flesh becomes a malleable substance to be molded and whittled into new and unrecognisable shapes. Our brains are programmed to tune into the fine details of the face, I'm hardwired to be fascinated by faces. Navigating the inevitable conflict, listening to opinions and providing emotional support is stressful but it's part of the responsibility of being an artist making provocative work around delicate subject matter. That ownership of experience is so important to eschew psychological blockades, to allow the work to be impactful in meaningful ways. I was extremely fortunate because my father ran a craft shop called 'kit kraft' in los angeles, so he would bring me home all kinds of damaged merchandise to play around with. By staging an environment for the audience to photograph, it invites them to collaborate. What was the aim of the project, and what was the general response like?
Sitkin's father ran a craft shop in LA called 'kit kraft' where she was first introduced to the art of special effects. Do you see the documentation of your more sculptural work as an extension of those pieces or a separate thing altogether? Are there any upcoming projects you'd like to share with us? Sitkin's work tests the link between physical anatomy and individual sense of identity. DB: your work is often described as 'creepy' or 'horror art', and while there is something undeniably discomfiting about some of your pieces, are these terms ones you identify with personally and is this sense of disorientation something you intentionally set out to try and achieve? Sitkin's work forces us to encounter and engage with our bodies in new and unusual ways. There were materials the shop carried like dental alginate, silicone, high quality clays, casting resins, plasters, and specialty adhesives that I got to mess around with as a young person because of the shops' proximity to the special effects studios and prop shops. BODYSUITS examines the divide between body and self, and saw visitors trying on body molds like garments. I started making molds of my own body in my bedroom using alginate and plasters when I was 10 or 11. my dad also did a face cast of me and my brother when we were kids, and the life cast masks sat on a shelf in the living room for years.
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