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I never went to art school (in fact I never even graduated high school). I developed my own techniques through experimentation and research, then distributed my work primarily via photographs and video on social media. Bodies are politicized and labeled despite the ideals and identities of those individuals, especially when presented without emotional or social markers.
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. 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. A young person was able to wear ageing skin to reconnect with the present moment. 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. Female bodysuit for men. 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. 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. SS: 'bodysuits' began as a project to examine the division between body and self. 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.
Removing the boundaries between the audience and the art allows the experience to become their own. 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. DB: what is the most difficult part of the human body to replicate, and what is your favorite part to work on? 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. But sometimes taking a closer look—at mucus, teeth, genitals, hair, and how it's all put together—can be a strangely uncomfortable experience. 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? Sarah sitkin: I started making art in my bedroom as a kid with stuff my dad would bring home from work. 'I am deliberately making work that aims to bring the audience to a state of vulnerability'. The work of sarah sitkin is delightfully hard to describe. Super realistic muscle suit for sale. 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. It becomes a medium of storytelling, of self interrogation and of technical artistry.
SS: our bodies are huge sources of private struggle. Sitkin's father ran a craft shop in LA called 'kit kraft' where she was first introduced to the art of special effects. The artist's most recent exhibition BODYSUITS took place at LA's superchief gallery. Sitkin's work forces us to encounter and engage with our bodies in new and unusual ways.
DB: your work kind of eschews categorisation—how do you see yourself in relation to the 'conventional' art world? A woman chose to wear a male body to confront her fear and personal conflict with it. Are there any upcoming projects you'd like to share with us? Unable to contort the face itself into its best pose, the replica can feel like a betrayal of truth. SS: 'creepy' and horror' are terms I struggle to transcend. Most all the ideas I have come from concepts I'm battling with internally every day; body dysmorphia, nihilism, transcendence, ageing, and social constructs. Sitkin's studio is home to a variety of different tools and textiles. 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. 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. Full bodysuit for men. SS: like so many people in my generation, photos are an integral part of how we communicate. SS: I've been a rogue artist for a long time operating outside the institutional art world. By staging an environment for the audience to photograph, it invites them to collaborate. To present a body as separate from the self—as a garment for the self. Do you see the documentation of your more sculptural work as an extension of those pieces or a separate thing altogether?
BODYSUITS examines the divide between body and self, and saw visitors trying on body molds like garments. All images courtesy of the artist. Designboom caught up with sitkin recently to talk about the exhibition, as well her background as an artist and plans for the future. DB: can you tell us about your most recent exhibition 'bodysuits'?
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. 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? SS: probably the head is my favorite part of the human body to mold. 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. 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.
I imagine a virtual universe where I can create without obeying physics, make no physical waste, and make liberal use of the 'undo' button. It can be a very emotional experience. I try and insulate myself from trends and entertainment media. 'bodies are volatile icons despite their banal ubiquity'.
What was the aim of the project, and what was the general response like? SS: I'm looking to bring the bodysuits show to other cities, next stop is detroit, michigan on may 4th 2018. 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. DB: are there any mediums you have explored that you're keen to experiment with? That ownership of experience is so important to eschew psychological blockades, to allow the work to be impactful in meaningful ways. 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. 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? For sitkin, the body itself becomes a canvas to be torn apart and manipulated. A prosthetic iPhone case created by sitkin that looks, moves and feels like a real ear. 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. 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. I'm pretty out of touch with pop music and culture. 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. Flesh becomes a malleable substance to be molded and whittled into new and unrecognisable shapes. In deconstructing the body itself, sitkin tests the link between physical anatomy and individual sense of identity. I suppose doing an interview with someone who's body was molded for the show would be an interesting read. 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. 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. 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. 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.