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. 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. Ultra realistic bodysuit with penis. DB: what is the most difficult part of the human body to replicate, and what is your favorite part to work on? SS: I've been a rogue artist for a long time operating outside the institutional art world. SS: what influences me most, (to say what constantly has a hand in shaping my ideas) is my own psychological torment.
All images courtesy of the artist. 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. A prosthetic iPhone case created by sitkin that looks, moves and feels like a real ear. Sitkin's work tests the link between physical anatomy and individual sense of identity.
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. 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. SS: probably the head is my favorite part of the human body to mold. 'bodies are volatile icons despite their banal ubiquity'. DB: are there any mediums you have explored that you're keen to experiment with? Super realistic muscle suit for sale. DB: who or what are some of your influences as an artist? 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. Flesh becomes a malleable substance to be molded and whittled into new and unrecognisable shapes. DB: can you tell us about your most recent exhibition 'bodysuits'? Designboom caught up with sitkin recently to talk about the exhibition, as well her background as an artist and plans for the future. 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. 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. Are there any upcoming projects you'd like to share with us?
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? 'I am deliberately making work that aims to bring the audience to a state of vulnerability'. What was the aim of the project, and what was the general response like? 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. 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? 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. DB: what's next for sarah sitkin? I imagine a virtual universe where I can create without obeying physics, make no physical waste, and make liberal use of the 'undo' button. The work of sarah sitkin is delightfully hard to describe. 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. Sitkin's father ran a craft shop in LA called 'kit kraft' where she was first introduced to the art of special effects.
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. A young person was able to wear ageing skin to reconnect with the present moment. By staging an environment for the audience to photograph, it invites them to collaborate. As part of the project, I do 'fitting sessions' where I aid and allow people to actually wear the bodysuits inside a private, mirrored fitting room. 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 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. 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 never went to art school (in fact I never even graduated high school).
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. SS: 'bodysuits' began as a project to examine the division between body and self. A woman chose to wear a male body to confront her fear and personal conflict with it. Unable to contort the face itself into its best pose, the replica can feel like a betrayal of truth. Sitkin's molds toy with and tear apart the preconceptions we have about our own bodies.
I'm pretty out of touch with pop music and culture. That ownership of experience is so important to eschew psychological blockades, to allow the work to be impactful in meaningful 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. 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. I try and insulate myself from trends and entertainment media. BODYSUITS examines the divide between body and self, and saw visitors trying on body molds like garments. In deconstructing the body itself, sitkin tests the link between physical anatomy and individual sense of identity. It can be a very emotional experience. 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. 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. When someone scrolls past a pretty image it is disposable, but when someone takes their own pic, it becomes part of their experience. Our brains are programmed to tune into the fine details of the face, I'm hardwired to be fascinated by faces.
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.
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