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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. Designboom caught up with sitkin recently to talk about the exhibition, as well her background as an artist and plans for the future. Bodysuit underwear for men. Our brains are programmed to tune into the fine details of the face, I'm hardwired to be fascinated by faces. 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. SS: 'bodysuits' began as a project to examine the division between body and self. I imagine a virtual universe where I can create without obeying physics, make no physical waste, and make liberal use of the 'undo' button. Every day we have to make it our own; tailor, adorn and modify it to suit our identity at the moment.

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In deconstructing the body itself, sitkin tests the link between physical anatomy and individual sense of identity. SS: our bodies are huge sources of private struggle. But sometimes taking a closer look—at mucus, teeth, genitals, hair, and how it's all put together—can be a strangely uncomfortable experience. 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. 'I try to curate, whenever possible, the environment that my work is seen in'. Where to buy bodysuit. 'I am deliberately making work that aims to bring the audience to a state of vulnerability'. SS: I've been a rogue artist for a long time operating outside the institutional art world. DB: what is the most difficult part of the human body to replicate, and what is your favorite part to work on? Do you see the documentation of your more sculptural work as an extension of those pieces or a separate thing altogether? 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. 'bodies are volatile icons despite their banal ubiquity'.

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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? 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. 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. 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. When someone scrolls past a pretty image it is disposable, but when someone takes their own pic, it becomes part of their experience. Most all the ideas I have come from concepts I'm battling with internally every day; body dysmorphia, nihilism, transcendence, ageing, and social constructs. 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. 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 never went to art school (in fact I never even graduated high school). I started making molds of my own body in my bedroom using alginate and plasters when I was 10 or 11. Ultra realistic bodysuit with penis cancer. 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. 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.

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Sitkin's studio is home to a variety of different tools and textiles. I try and insulate myself from trends and entertainment media. It can be a very emotional experience. As far as the most difficult body part to replicate…probably an erect penis for obvious reasons. 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. Sitkin's father ran a craft shop in LA called 'kit kraft' where she was first introduced to the art of special effects.

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I'm pretty out of touch with pop music and culture. 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 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. DB: are there any mediums you have explored that you're keen to experiment with?

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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. SS: I'm looking to bring the bodysuits show to other cities, next stop is detroit, michigan on may 4th 2018. Sitkin's molds toy with and tear apart the preconceptions we have about our own bodies. 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?

It becomes a medium of storytelling, of self interrogation and of technical artistry. Unable to contort the face itself into its best pose, the replica can feel like a betrayal of truth. 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. 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. The sculptures, while at times unsettling, are also incredibly intimate. 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. A prosthetic iPhone case created by sitkin that looks, moves and feels like a real ear. 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. 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. We sweat, suffer and bleed to try and steer it into our own direction. 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. For sitkin, the body itself becomes a canvas to be torn apart and manipulated. 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.

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