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Designboom caught up with sitkin recently to talk about the exhibition, as well her background as an artist and plans for the future. I'm pretty out of touch with pop music and culture. Women bodysuit for men. DB: your work kind of eschews categorisation—how do you see yourself in relation to the 'conventional' art world? 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. 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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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. 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'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. SS: our bodies are huge sources of private struggle. Female bodysuit for men. I imagine a virtual universe where I can create without obeying physics, make no physical waste, and make liberal use of the 'undo' button. 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: 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 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 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. SS: I'm looking to bring the bodysuits show to other cities, next stop is detroit, michigan on may 4th 2018.
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When someone scrolls past a pretty image it is disposable, but when someone takes their own pic, it becomes part of their experience. SS: probably the head is my favorite part of the human body to mold. As far as the most difficult body part to replicate…probably an erect penis for obvious reasons. Sitkin's work tests the link between physical anatomy and individual sense of identity. 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: what is the most difficult part of the human body to replicate, and what is your favorite part to work on? 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. I suppose doing an interview with someone who's body was molded for the show would be an interesting read. Full bodysuit for men. SS: 'bodysuits' began as a project to examine the division between body and self. Sitkin's work forces us to encounter and engage with our bodies in new and unusual ways. Do you see the documentation of your more sculptural work as an extension of those pieces or a separate thing altogether? What was the aim of the project, and what was the general response like? It can be a very emotional experience. 'bodies are volatile icons despite their banal ubiquity'.
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Sarah sitkin: I started making art in my bedroom as a kid with stuff my dad would bring home from work. 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. Removing the boundaries between the audience and the art allows the experience to become their own. BODYSUITS examines the divide between body and self, and saw visitors trying on body molds like garments. I never went to art school (in fact I never even graduated high school). 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. There's a subtle discrepancy between what we think we look like and the reality of our appearance. All images courtesy of the artist. 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. SS: what influences me most, (to say what constantly has a hand in shaping my ideas) is my own psychological torment.
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SS: like so many people in my generation, photos are an integral part of how we communicate. 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. 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. To present a body as separate from the self—as a garment for the self. We sweat, suffer and bleed to try and steer it into our own direction. Are there any upcoming projects you'd like to share with us? Sitkin's molds toy with and tear apart the preconceptions we have about our own bodies. That ownership of experience is so important to eschew psychological blockades, to allow the work to be impactful in meaningful ways. By staging an environment for the audience to photograph, it invites them to collaborate.
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SS: 'creepy' and horror' are terms I struggle to transcend. 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? In the sessions I've experienced a myriad of responses. For sitkin, the body itself becomes a canvas to be torn apart and manipulated.
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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? 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. 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? Bodies are politicized and labeled despite the ideals and identities of those individuals, especially when presented without emotional or social markers. 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. The artist's most recent exhibition BODYSUITS took place at LA's superchief gallery. 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. A woman chose to wear a male body to confront her fear and personal conflict with it. DB: what's next for sarah sitkin? 'I try to curate, whenever possible, the environment that my work is seen in'. 'I am deliberately making work that aims to bring the audience to a state of vulnerability'.
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. 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. 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. Every day we have to make it our own; tailor, adorn and modify it to suit our identity at the moment. DB: who or what are some of your influences as an artist? Unable to contort the face itself into its best pose, the replica can feel like a betrayal of truth. In deconstructing the body itself, sitkin tests the link between physical anatomy and individual sense of identity. I developed my own techniques through experimentation and research, then distributed my work primarily via photographs and video on social media.
Most all the ideas I have come from concepts I'm battling with internally every day; body dysmorphia, nihilism, transcendence, ageing, and social constructs. DB: are there any mediums you have explored that you're keen to experiment with? Sitkin's studio is home to a variety of different tools and textiles. 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. A prosthetic iPhone case created by sitkin that looks, moves and feels like a real ear. It becomes a medium of storytelling, of self interrogation and of technical artistry. A young person was able to wear ageing skin to reconnect with the present moment.
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. 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. 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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