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All images courtesy of the artist. 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. Ultra realistic bodysuit with penis cancer. This wasn't just any craft shop—it was a craft shop in a part of the city that was saturated with movie studios so it catered to the entertainment industry. As far as the most difficult body part to replicate…probably an erect penis for obvious reasons.
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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. Most recently, sitkin's 'BODYSUITS' exhibition at superchief gallery in LA invited visitors to try on the physical molds of other people's naked bodies, essentially enabling them to experience life through someone else's skin. That ownership of experience is so important to eschew psychological blockades, to allow the work to be impactful in meaningful ways. A prosthetic iPhone case created by sitkin that looks, moves and feels like a real ear. 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. Bodies are politicized and labeled despite the ideals and identities of those individuals, especially when presented without emotional or social markers. We sweat, suffer and bleed to try and steer it into our own direction. Ultra realistic bodysuit with penis. Sitkin's molds toy with and tear apart the preconceptions we have about our own bodies. SS: probably the head is my favorite part of the human body to mold. In deconstructing the body itself, sitkin tests the link between physical anatomy and individual sense of identity. I use materials and techniques borrowed from special effects, prosthetics, and makeup (an industry built on the foundations of those words) but the concepts I'm illustrating really have nothing to do with gore, cosplay, or horror.
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A young person was able to wear ageing skin to reconnect with the present moment. 'I am deliberately making work that aims to bring the audience to a state of vulnerability'. It becomes a medium of storytelling, of self interrogation and of technical artistry. DB: what's next for sarah sitkin? There's a subtle discrepancy between what we think we look like and the reality of our appearance. SS: 'creepy' and horror' are terms I struggle to transcend. The result is often unsettling but also deeply personal and affecting, and offers viewers new perspectives on the bodies they thought they knew so well. Women bodysuit for men. BODYSUITS examines the divide between body and self, and saw visitors trying on body molds like garments. I have to sensor the genitals and nipples (I'm so embarrassed that I have to do that) in order to share and promote the project on social media. DB: what is the most difficult part of the human body to replicate, and what is your favorite part to work on? 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.
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These early molding and casting experiments really came to play a huge role in the ideas I would later have as an artist, and got me very comfortable with the materials and process. I have a solo show in december 2018 with nohwave gallery in los angeles, and I'm working on a very special collaboration with my friends from matières fécales. Are there any upcoming projects you'd like to share with us? The sculptures, while at times unsettling, are also incredibly intimate. For sitkin, the body itself becomes a canvas to be torn apart and manipulated. Sarah sitkin: I started making art in my bedroom as a kid with stuff my dad would bring home from work. Do you see the documentation of your more sculptural work as an extension of those pieces or a separate thing altogether?
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Removing the boundaries between the audience and the art allows the experience to become their own. In the sessions I've experienced a myriad of responses. 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. SS: like so many people in my generation, photos are an integral part of how we communicate. Our brains are programmed to tune into the fine details of the face, I'm hardwired to be fascinated by faces.
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DB: who or what are some of your influences as an artist? Sitkin's work forces us to encounter and engage with our bodies in new and unusual ways. Sitkin's work tests the link between physical anatomy and individual sense of identity. 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.
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But sometimes taking a closer look—at mucus, teeth, genitals, hair, and how it's all put together—can be a strangely uncomfortable experience. It can be a very emotional experience. 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. 'bodies are volatile icons despite their banal ubiquity'. DB: your work kind of eschews categorisation—how do you see yourself in relation to the 'conventional' art world?
When someone scrolls past a pretty image it is disposable, but when someone takes their own pic, it becomes part of their experience. 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? I try to curate, whenever possible, the environment that my work is seen in, using controlled lighting, soundscapes and design elements to make it possible for others to document my work in interesting and beautiful ways. Every day we have to make it our own; tailor, adorn and modify it to suit our identity at the moment. DB: your sculptures, while at times unsettling, are also incredibly intimate and display the human form in a really unglamorous way that feels—especially in the case of 'bodysuits'—very personal. I imagine a virtual universe where I can create without obeying physics, make no physical waste, and make liberal use of the 'undo' button. By staging an environment for the audience to photograph, it invites them to collaborate. 'I try to curate, whenever possible, the environment that my work is seen in'. 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? 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. To present a body as separate from the self—as a garment for the self.