It becomes a medium of storytelling, of self interrogation and of technical artistry. DB: what is the most difficult part of the human body to replicate, and what is your favorite part to work on? Sarah sitkin: I started making art in my bedroom as a kid with stuff my dad would bring home from work. Full bodysuit for men. That ownership of experience is so important to eschew psychological blockades, to allow the work to be impactful in meaningful ways. A prosthetic iPhone case created by sitkin that looks, moves and feels like a real ear.
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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? DB: what's next for sarah sitkin? 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. 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. I never went to art school (in fact I never even graduated high school). Sitkin's molds toy with and tear apart the preconceptions we have about our own bodies. I imagine a virtual universe where I can create without obeying physics, make no physical waste, and make liberal use of the 'undo' button. Bodysuit underwear for men. 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.
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The artist's most recent exhibition BODYSUITS took place at LA's superchief gallery. A young person was able to wear ageing skin to reconnect with the present moment. Sitkin's work tests the link between physical anatomy and individual sense of identity. 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. What was the aim of the project, and what was the general response like? Super realistic muscle suit for sale. Removing the boundaries between the audience and the art allows the experience to become their own. Designboom caught up with sitkin recently to talk about the exhibition, as well her background as an artist and plans for the future.
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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. 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. I'm pretty out of touch with pop music and culture. All images courtesy of the artist. 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. SS: probably the head is my favorite part of the human body to mold. Our brains are programmed to tune into the fine details of the face, I'm hardwired to be fascinated by faces. 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. 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 am deliberately making work that aims to bring the audience to a state of vulnerability'. I try and insulate myself from trends and entertainment media.
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 the sessions I've experienced a myriad of responses. 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. Sitkin's studio is home to a variety of different tools and textiles. Are there any upcoming projects you'd like to share with us? 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. 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? SS: like so many people in my generation, photos are an integral part of how we communicate. DB: are there any mediums you have explored that you're keen to experiment with? 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. 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? DB: who or what are some of your influences as an artist?
There's a subtle discrepancy between what we think we look like and the reality of our appearance. 'I try to curate, whenever possible, the environment that my work is seen in'.