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. 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.
Sitkin's work forces us to encounter and engage with our bodies in new and unusual ways. A prosthetic iPhone case created by sitkin that looks, moves and feels like a real ear. Silicone bodysuit for men. 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. DB: your work kind of eschews categorisation—how do you see yourself in relation to the 'conventional' art world?
Unable to contort the face itself into its best pose, the replica can feel like a betrayal of truth. 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. To present a body as separate from the self—as a garment for the self. SS: I've been a rogue artist for a long time operating outside the institutional art world. DB: are there any mediums you have explored that you're keen to experiment with? 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. 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. Ultra realistic bodysuit with penis cancer. 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. 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.
The work of sarah sitkin is delightfully hard to describe. As far as the most difficult body part to replicate…probably an erect penis for obvious reasons. For sitkin, the body itself becomes a canvas to be torn apart and manipulated. 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. The sculptures, while at times unsettling, are also incredibly intimate. 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. It can be a very emotional experience. 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. 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. 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'. SS: like so many people in my generation, photos are an integral part of how we communicate. It becomes a medium of storytelling, of self interrogation and of technical artistry.
Do you see the documentation of your more sculptural work as an extension of those pieces or a separate thing altogether? SS: 'creepy' and horror' are terms I struggle to transcend. Sarah sitkin: I started making art in my bedroom as a kid with stuff my dad would bring home from work. 'bodies are volatile icons despite their banal ubiquity'. 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 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. 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. I developed my own techniques through experimentation and research, then distributed my work primarily via photographs and video on social media. 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 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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