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Wednesday, 31 July 2024

SS: 'creepy' and horror' are terms I struggle to transcend. 'I try to curate, whenever possible, the environment that my work is seen in'. SS: what influences me most, (to say what constantly has a hand in shaping my ideas) is my own psychological torment. Super realistic muscle suit for sale. Do you see the documentation of your more sculptural work as an extension of those pieces or a separate thing altogether? There's a subtle discrepancy between what we think we look like and the reality of our appearance. 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.

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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. 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? Skin tight bodysuit for sale. DB: who or what are some of your influences as an artist? By staging an environment for the audience to photograph, it invites them to collaborate. Sitkin's father ran a craft shop in LA called 'kit kraft' where she was first introduced to the art of special effects.

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. 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 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: 'bodysuits' began as a project to examine the division between body and self. Removing the boundaries between the audience and the art allows the experience to become their own. 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? Sitkin's work tests the link between physical anatomy and individual sense of identity. SS: like so many people in my generation, photos are an integral part of how we communicate. 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. The sculptures, while at times unsettling, are also incredibly intimate. For sitkin, the body itself becomes a canvas to be torn apart and manipulated. It becomes a medium of storytelling, of self interrogation and of technical artistry. A prosthetic iPhone case created by sitkin that looks, moves and feels like a real ear. Bodysuit underwear for men. A woman chose to wear a male body to confront her fear and personal conflict with it.

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. I never went to art school (in fact I never even graduated high school). 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. 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. 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. 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. 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: our bodies are huge sources of private struggle. 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. All images courtesy of the artist. The work of sarah sitkin is delightfully hard to describe. 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. 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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Most all the ideas I have come from concepts I'm battling with internally every day; body dysmorphia, nihilism, transcendence, ageing, and social constructs. A young person was able to wear ageing skin to reconnect with the present moment. SS: I've been a rogue artist for a long time operating outside the institutional art world. I try and insulate myself from trends and entertainment media.

In the sessions I've experienced a myriad of responses. 'bodies are volatile icons despite their banal ubiquity'. SS: probably the head is my favorite part of the human body to mold. DB: what's next for sarah sitkin? 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? Unable to contort the face itself into its best pose, the replica can feel like a betrayal of truth. Sarah sitkin: I started making art in my bedroom as a kid with stuff my dad would bring home from work. 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. Bodies are politicized and labeled despite the ideals and identities of those individuals, especially when presented without emotional or social markers. I developed my own techniques through experimentation and research, then distributed my work primarily via photographs and video on social media. As far as the most difficult body part to replicate…probably an erect penis for obvious reasons. 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. 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.

Sitkin's molds toy with and tear apart the preconceptions we have about our own bodies. Designboom caught up with sitkin recently to talk about the exhibition, as well her background as an artist and plans for the future. In deconstructing the body itself, sitkin tests the link between physical anatomy and individual sense of identity. Flesh becomes a malleable substance to be molded and whittled into new and unrecognisable shapes. 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. We sweat, suffer and bleed to try and steer it into our own direction. DB: your work kind of eschews categorisation—how do you see yourself in relation to the 'conventional' art world?

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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 imagine a virtual universe where I can create without obeying physics, make no physical waste, and make liberal use of the 'undo' button. What was the aim of the project, and what was the general response like? 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. 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. To present a body as separate from the self—as a garment for the self. 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. 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. 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. It can be a very emotional experience. I'm pretty out of touch with pop music and culture. 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.

Sitkin's studio is home to a variety of different tools and textiles. 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 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. That ownership of experience is so important to eschew psychological blockades, to allow the work to be impactful in meaningful ways. BODYSUITS examines the divide between body and self, and saw visitors trying on body molds like garments. 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. 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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I've been selling my name For the sake of who knows I've been trying to explain How it's all gonna go I don't take my life for granted I've been waking up tight, day after day Hope is taking its time to go my way. This page checks to see if it's really you sending the requests, and not a robot. Publisher: From the Album: Other popular songs by Matt White includes Saying Goodbye, Love And Affection, Anyone Else, Teacher Teacher, Mr Blue Skies, and others. United Planets Cruiser C57D, now more than a year out from Earth Base on a special mission to the planetary system of the great main-sequence star Altair. Band CAMINO, The - I Spend Too Much Time In My Room. The duration of song is 00:03:18. In what key does Oh Honey play Be Okay? Oh Honey Be Okay Comments. When the camera moves over towards Santana and Rachel, you can see Lea Michele's tattoos on her right foot.

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