Sarah Sitkin Interview: The Terrible Beauty Of Being Human
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: what influences me most, (to say what constantly has a hand in shaping my ideas) is my own psychological torment. 'I am deliberately making work that aims to bring the audience to a state of vulnerability'. Ultra realistic bodysuit with penis. I suppose doing an interview with someone who's body was molded for the show would be an interesting read. DB: who or what are some of your influences as an artist? The artist's most recent exhibition BODYSUITS took place at LA's superchief gallery.
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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? Bodies are politicized and labeled despite the ideals and identities of those individuals, especially when presented without emotional or social markers. It can be a very emotional experience. 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: like so many people in my generation, photos are an integral part of how we communicate. 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: are there any mediums you have explored that you're keen to experiment with? 'bodies are volatile icons despite their banal ubiquity'. 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. Bodysuit underwear for men. In deconstructing the body itself, sitkin tests the link between physical anatomy and individual sense of identity. For sitkin, the body itself becomes a canvas to be torn apart and manipulated.
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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. A woman chose to wear a male body to confront her fear and personal conflict with it. I never went to art school (in fact I never even graduated high school). SS: 'creepy' and horror' are terms I struggle to transcend. 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. 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'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 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. Women bodysuit for men. 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 developed my own techniques through experimentation and research, then distributed my work primarily via photographs and video on social media. SS: probably the head is my favorite part of the human body to mold. 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. As far as the most difficult body part to replicate…probably an erect penis for obvious reasons. All images courtesy of the artist.
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We sweat, suffer and bleed to try and steer it into our own direction. 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. 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. To present a body as separate from the self—as a garment for the self. Sitkin's father ran a craft shop in LA called 'kit kraft' where she was first introduced to the art of special effects. Are there any upcoming projects you'd like to share with us? 'I try to curate, whenever possible, the environment that my work is seen in'. 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.
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SS: I'm looking to bring the bodysuits show to other cities, next stop is detroit, michigan on may 4th 2018. 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? Flesh becomes a malleable substance to be molded and whittled into new and unrecognisable shapes. But sometimes taking a closer look—at mucus, teeth, genitals, hair, and how it's all put together—can be a strangely uncomfortable experience. 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. That ownership of experience is so important to eschew psychological blockades, to allow the work to be impactful in meaningful ways. 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. Sarah sitkin: I started making art in my bedroom as a kid with stuff my dad would bring home from work. 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. I try and insulate myself from trends and entertainment media. 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. DB: your work kind of eschews categorisation—how do you see yourself in relation to the 'conventional' art world?
In the sessions I've experienced a myriad of responses. I imagine a virtual universe where I can create without obeying physics, make no physical waste, and make liberal use of the 'undo' button.