Sarah Sitkin Interview: The Terrible Beauty Of Being Human

SS: 'creepy' and horror' are terms I struggle to transcend. 'I try to curate, whenever possible, the environment that my work is seen in'. I try and insulate myself from trends and entertainment media. Silicone bodysuit for men. DB: what is the most difficult part of the human body to replicate, and what is your favorite part to work on? 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?

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'I am deliberately making work that aims to bring the audience to a state of vulnerability'. 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. 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. Sarah sitkin: I started making art in my bedroom as a kid with stuff my dad would bring home from work. What was the aim of the project, and what was the general response like? I never went to art school (in fact I never even graduated high school). By staging an environment for the audience to photograph, it invites them to collaborate. 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. Super realistic muscle suit for sale. SS: 'bodysuits' began as a project to examine the division between body and self. 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. 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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Sitkin's father ran a craft shop in LA called 'kit kraft' where she was first introduced to the art of special effects. I developed my own techniques through experimentation and research, then distributed my work primarily via photographs and video on social media. 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? 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: probably the head is my favorite part of the human body to mold. Where to buy bodysuit. Flesh becomes a malleable substance to be molded and whittled into new and unrecognisable shapes. 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. In deconstructing the body itself, sitkin tests the link between physical anatomy and individual sense of identity. SS: I'm looking to bring the bodysuits show to other cities, next stop is detroit, michigan on may 4th 2018. Sitkin's studio is home to a variety of different tools and textiles. All images courtesy of the artist.

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BODYSUITS examines the divide between body and self, and saw visitors trying on body molds like garments. It can be a very emotional experience. 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: are there any mediums you have explored that you're keen to experiment with? 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. I suppose doing an interview with someone who's body was molded for the show would be an interesting read. 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. 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.

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For sitkin, the body itself becomes a canvas to be torn apart and manipulated. 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. 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. DB: what's next for sarah sitkin? The artist's most recent exhibition BODYSUITS took place at LA's superchief gallery.

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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. 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 work tests the link between physical anatomy and individual sense of identity. The work of sarah sitkin is delightfully hard to describe. 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. Sitkin's molds toy with and tear apart the preconceptions we have about our own bodies. Do you see the documentation of your more sculptural work as an extension of those pieces or a separate thing altogether? We sweat, suffer and bleed to try and steer it into our own direction. SS: what influences me most, (to say what constantly has a hand in shaping my ideas) is my own psychological torment. To present a body as separate from the self—as a garment for the self.

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SS: I've been a rogue artist for a long time operating outside the institutional art world. I imagine a virtual universe where I can create without obeying physics, make no physical waste, and make liberal use of the 'undo' button. 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. I'm pretty out of touch with pop music and culture. 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. 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. Designboom caught up with sitkin recently to talk about the exhibition, as well her background as an artist and plans for the future. 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. 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. 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. 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. Every day we have to make it our own; tailor, adorn and modify it to suit our identity at the moment.

Sitkin's work forces us to encounter and engage with our bodies in new and unusual ways. As far as the most difficult body part to replicate…probably an erect penis for obvious reasons. A young person was able to wear ageing skin to reconnect with the present moment. DB: your work kind of eschews categorisation—how do you see yourself in relation to the 'conventional' art world?

Sat, 18 May 2024 07:18:20 +0000