DB: your work kind of eschews categorisation—how do you see yourself in relation to the 'conventional' art world? Are there any upcoming projects you'd like to share with us? 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.
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We sweat, suffer and bleed to try and steer it into our own direction. 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? Unable to contort the face itself into its best pose, the replica can feel like a betrayal of truth. 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. But sometimes taking a closer look—at mucus, teeth, genitals, hair, and how it's all put together—can be a strangely uncomfortable experience. Ultra realistic bodysuit with penis. As far as the most difficult body part to replicate…probably an erect penis for obvious reasons. I'm pretty out of touch with pop music and culture.
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All images courtesy of the artist. I imagine a virtual universe where I can create without obeying physics, make no physical waste, and make liberal use of the 'undo' button. Bodysuit underwear for men. 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? Most all the ideas I have come from concepts I'm battling with internally every day; body dysmorphia, nihilism, transcendence, ageing, and social constructs. Bodies are politicized and labeled despite the ideals and identities of those individuals, especially when presented without emotional or social markers.
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What was the aim of the project, and what was the general response like? DB: can you tell us about your most recent exhibition 'bodysuits'? There's a subtle discrepancy between what we think we look like and the reality of our appearance. 'bodies are volatile icons despite their banal ubiquity'. Sitkin's father ran a craft shop in LA called 'kit kraft' where she was first introduced to the art of special effects. 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? Do you see the documentation of your more sculptural work as an extension of those pieces or a separate thing altogether? A young person was able to wear ageing skin to reconnect with the present moment. 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. 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. DB: who or what are some of your influences as an artist? Sitkin's molds toy with and tear apart the preconceptions we have about our own bodies. Silicone bodysuit for men. 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. 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.
DB: are there any mediums you have explored that you're keen to experiment with? 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. 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. 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. A woman chose to wear a male body to confront her fear and personal conflict with it. 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. 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. Sitkin's studio is home to a variety of different tools and textiles. 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. SS: I'm looking to bring the bodysuits show to other cities, next stop is detroit, michigan on may 4th 2018.
Sitkin's work forces us to encounter and engage with our bodies in new and unusual ways. 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.
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