'I am deliberately making work that aims to bring the audience to a state of vulnerability'. 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. 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. 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. Ultra realistic bodysuit with penis. Unable to contort the face itself into its best pose, the replica can feel like a betrayal of truth.
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. 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. In the sessions I've experienced a myriad of responses. Our brains are programmed to tune into the fine details of the face, I'm hardwired to be fascinated by faces. Flesh becomes a malleable substance to be molded and whittled into new and unrecognisable shapes. Sitkin's work tests the link between physical anatomy and individual sense of identity. SS: I've been a rogue artist for a long time operating outside the institutional art world. SS: like so many people in my generation, photos are an integral part of how we communicate. Bodysuit underwear for men. 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.
DB: can you tell us about your most recent exhibition 'bodysuits'? 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. Every day we have to make it our own; tailor, adorn and modify it to suit our identity at the moment. What was the aim of the project, and what was the general response like? 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. 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: 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? Female bodysuit for men. 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.
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. I never went to art school (in fact I never even graduated high school). Sarah sitkin: I started making art in my bedroom as a kid with stuff my dad would bring home from work. 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? Sitkin's studio is home to a variety of different tools and textiles.
keepcovidfree.net, 2024