Sarah Sitkin Interview: The Terrible Beauty Of Being Human, The Seventh Station Of The Cross
'bodies are volatile icons despite their banal ubiquity'. In deconstructing the body itself, sitkin tests the link between physical anatomy and individual sense of identity. 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. Super realistic muscle suit for sale. Sitkin's father ran a craft shop in LA called 'kit kraft' where she was first introduced to the art of special effects. Removing the boundaries between the audience and the art allows the experience to become their own.
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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. Flesh becomes a malleable substance to be molded and whittled into new and unrecognisable shapes. 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 never went to art school (in fact I never even graduated high school). 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. SS: I'm looking to bring the bodysuits show to other cities, next stop is detroit, michigan on may 4th 2018. 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? 'I am deliberately making work that aims to bring the audience to a state of vulnerability'. Sitkin's studio is home to a variety of different tools and textiles. A woman chose to wear a male body to confront her fear and personal conflict with it. 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 becomes a medium of storytelling, of self interrogation and of technical artistry. 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. Ultra realistic bodysuit with penis growth. DB: what's next for sarah sitkin?
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SS: what influences me most, (to say what constantly has a hand in shaping my ideas) is my own psychological torment. BODYSUITS examines the divide between body and self, and saw visitors trying on body molds like garments. SS: 'creepy' and horror' are terms I struggle to transcend. 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? 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. 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. When someone scrolls past a pretty image it is disposable, but when someone takes their own pic, it becomes part of their experience. 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. 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. DB: what is the most difficult part of the human body to replicate, and what is your favorite part to work on? 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. 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. Unable to contort the face itself into its best pose, the replica can feel like a betrayal of truth.
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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? SS: our bodies are huge sources of private struggle. 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. I suppose doing an interview with someone who's body was molded for the show would be an interesting read. 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. Most all the ideas I have come from concepts I'm battling with internally every day; body dysmorphia, nihilism, transcendence, ageing, and social constructs. By staging an environment for the audience to photograph, it invites them to collaborate. Bodies are politicized and labeled despite the ideals and identities of those individuals, especially when presented without emotional or social markers. 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. What was the aim of the project, and what was the general response like? SS: probably the head is my favorite part of the human body to mold. DB: are there any mediums you have explored that you're keen to experiment with? 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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A prosthetic iPhone case created by sitkin that looks, moves and feels like a real ear. I imagine a virtual universe where I can create without obeying physics, make no physical waste, and make liberal use of the 'undo' button. 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 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. 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. 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. A young person was able to wear ageing skin to reconnect with the present moment. I'm pretty out of touch with pop music and culture. Are there any upcoming projects you'd like to share with us? Every day we have to make it our own; tailor, adorn and modify it to suit our identity at the moment.
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. In the sessions I've experienced a myriad of responses. There's a subtle discrepancy between what we think we look like and the reality of our appearance. 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. 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. Sitkin's work tests the link between physical anatomy and individual sense of identity. 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. Our brains are programmed to tune into the fine details of the face, I'm hardwired to be fascinated by faces.
We sweat, suffer and bleed to try and steer it into our own direction. 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: 'bodysuits' began as a project to examine the division between body and self. As far as the most difficult body part to replicate…probably an erect penis for obvious reasons.
Jesus, servant of life, crushed by men, yet raised up by God. I love You, Jesus, my love, above all things; I repent with my whole heart for having offended you. Weak and powerful Jesus, give me the grace to see beyond what is visible and be more aware of Your Wisdom in the midst of weakness.
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2nd Station: Jesus carries His cross. It caused Christ more sadness that the official sentence of death had not failed to make an impression upon those who, during the trial, had been partly in sympathy with Him. V=> (genuflecting) We adore You, O Christ, and praise You. Free us from the bonds of lust. He also made it possible for each of us to participate in salvation. Our sins, which you took upon yourself, crush you, yet your mercy. Copyright 2022 Catholic Online. Tariff Act or related Acts concerning prohibiting the use of forced labor. I will do so if you kill me for it. I love You, Jesus, my Love with all my heart; I am sorry that I have offended You. THE FIRST STATION: JESUS IS CONDEMNED TO DEATH. The sixth station of the cross. To face the new day. But behold, after a few hundred steps, He falls a second time and, near the gate of the city, a third time. '
THE NINTH STATION: JESUS FALLS A THIRD TIME. Individual Glass Coaster. The following passage is taken from The Passion of Jesus and Its Hidden Meaning by Fr. Works with all computer mice.
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THE SECOND STATION: JESUS RECEIVES HIS CROSS. As it was in the beginning, is now, and ever shall be, world without end. As I behold him there on the ground, with all the agony taking its toll on him, I let my heart go out to him. Certainly it passes unnoticed by those who jeer, those for whom this Jesus of Nazareth, as he now falls for the second time, is a laughing-stock. And even when the weight of our sins pushed him to the ground, he kept getting back up, determined to make it to the top of that hill. He will take the weight of our cross and help us carry it. Vidit Jesum in tormentis. But now, You fall a second time - apparently conquered by the pain of the Cross. "I am a worm, and no man" (Ps 22:6). Station 7: Jesus Falls the Second Time | DOLR.org. PRAYER: Lord Jesus, we so often fall as we carry the weight of our cross, especially in times of trial and temptation. But Jesus is only halfway there, only halfway through his journey to Calvary. Bishop: Consider how the second fall of Jesus under His cross renews the pain in all the wounds of the head. In place of a heart of stone, give us a heart of flesh, a heart capable of seeing. May our love of you become a force that heals and unifies.
Inspire in us compassion for the student who is cast aside and the colleague who is marginalized. And the only way I could see to ease the pain my wife and I were feeling would be if we knew exactly how God was going to bring good from this tragedy. Bevelled Wood Effect Framed and Mounted Prints - Professionally Made and Ready to Hang. Jesus Falls the Second Time. Your gift is tax-deductible as allowed by law. The prophetic words of the Psalmist are wholly fulfilled in these steep, narrow alleys of Jerusalem in the final hours before the Passover. A Reflection on the Seventh Station of the Cross. EIGHTH STATION: The Women of Jerusalem Mourn for Our Lord. Prayers by Pope John Paul II.
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Give us this day our daily bread; and forgive us our trespasses, as we forgive those who trespass against us. "Whenever we crucify a criminal, " writes Quintilian, "the most populous streets are selected so that the multiude may look on and be seized with fear. Lord Jesus, crucified. As our Lord falls again, the cross crushes His scourged and beaten back and pushes the crown of thorns deeper into His skull as He crashes to the ground. Back to photostream. Sanctions Policy - Our House Rules. Thou, O sole support of the weak, by Thy grace, without which I can do nothing, strengthen me to carry out faithfully this my resolution. Pope Pius XII Prayers.
But Jesus knows he must carry on, he knows our lives, our eternal lives, depend on it so he drags himself to his feet and drags himself painfully on. Life sometimes weighs us down and we find ourselves lying in the dirt drained of all our energy and strength. He has made my teeth grind on gravel, and made me cower in ashes. Jesus falls a second time, but struggles to his feet and continues. Photo Prints on sturdy Archival Quality Photo Paper for vivid reproduction - Perfect for framing. We had all gone astray like sheep, all following our own way; but the LORD laid upon him the guilt of us all. The seventh station of the cross country. He writhes in pain in the dust like to a worm trodden upon. REFLECTION: Even with the help of Simon, Jesus falls for a second time.
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Jesus took on the weight of our sins because he loves us. Each time I fail, I find it harder to keep trying. 45pm Soup and bread lunch in the priory. This policy is a part of our Terms of Use. People: My most gentle Jesus, / how many times You have forgiven me; / and how many times I have fallen. When the procession was near this gate, the brutal archers shoved Jesus into a stagnant pool, which was close to it; Simon of Cyrene, in his endeavors to avoid the pool, gave the cross a twist, which caused Jesus to fall down in the midst of the dirty mud, and Simon had the greatest difficulty in lifting up the cross again. Even if it is the hundredth! All who see me mock me; they hurl insults, shaking their heads.
How many times have you thought 'enough, I give up', when things have got too much for you? Archive quality photographic print in a durable wipe clean mouse mat with non slip backing. It looks down upon those who apparently have given their best and are now in need. Some of you are probably doing this already, and are much better at it than I am.