About the Artist
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About the Artist *
Sarah Pitz is a second-year Master's student at New York University, specializing in Cinema Studies with a focus on Digital Humanities. Inspired by Legacy Russell’s Glitch Feminism, she uses glitch art as a powerful form of advocacy, aiming to disrupt dominant narratives and bring attention to taboo issues, particularly women’s reproductive rights. By concentrating on infertility and endometriosis, Pitz utilizes digital disruption to challenge societal norms and amplify marginalized voices. Her work merges feminist theory with digital media, exploring how art can not only reflect but also drive social change, shedding light on issues that are often silenced or ignored in mainstream conversations
My Story
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My Story *
For the last three years, I’ve been struggling more than struggling. I’ve been barely surviving. I always felt like there was an underlying problem, but no one could tell me what it was. Three years ago, I went to the Emergency Room for acute abdominal pain on my right side. Being told it was probably an appendicitis. The pain was excruciating one of the worst I’ve ever felt and I couldn’t even stand. After that visit, I underwent countless tests, including a colonoscopy, an endoscopy, and screenings for every gastrointestinal issue imaginable. Finally, I was told I had a gluten intolerance, and that was supposedly the cause of my problems. My pain started to get better and I thought I was going to be fine. The pain started to return but was mangeable. Fast forward to last spring, during my finals week. I could barely keep anything down not even water. The same pain returned. I went to urgent care, and from there, I was taken by ambulance to the Emergency Room. Again, I endured hours of waiting, tests, and being poked and prodded. Once more, they told me, “Nothing is wrong.” At that moment, I broke down, sobbing: “Please, please don’t send me home again. I can’t. I can’t do this.” Finally, after begging they sent me to GYN, where an elderly doctor who was examining me looked up with a sad expression and sighed, “Oh, honey, They should’ve sent me to you right when you came in."” She told me to see a gynecologist immediately for treatment.
It took three months to get an appointment. When the GYN examined me, multiple doctors were called into the room. They looked at each other, then at me. I felt like a spectacle, a creature on display. Finally, they sat me down and told me I had severe endometriosis. A disease I barely even knew existed. They said I would need surgery and later on it would ultimately, likely lead to a hysterectomy. I was overwhelmed, processing so much information. It didn’t immediately hit me that this meant I’d lose my only chance at having my own biological children. When it did, I was heartbroken. There are countless treatment options available, but I knew I couldn’t put myself or my partner through that. I realized then that I would never carry a child. Finding this out at 24 years old was devastating, but it also brought a strange sense of relief. I wasn’t imagining it. My pain wasn’t normal, and my periods weren’t just “bad.” There was, in fact, something wrong. Since then, I’ve sought information, turning to Google to understand this disease. Art has always been a release for me, and as a graduate student in Cinema Studies at NYU, I knew I needed to express my experience creatively.
What I didn’t expect to find was how few films or stories exist about endometriosis or the emotional toll of infertility. This absence inspired me to turn my work into a form of activism. Through glitch feminism and art, I am channeling not just my frustration but also my hope to create something that reaches others who are struggling. I want this art to send a clear message: It’s okay to talk about this. Infertility, endometriosis, and women’s reproductive health shouldn’t be a taboo. These are experiences we need to discuss openly and honestly. By highlighting the systemic failures in healthcare and breaking the silence surrounding these topics, I hope to erase the stigma and show people they are not alone. My art reflects the frustration, heartbreak, and resilience of my journey and so many other’s through the films described below. I aim to create a space where others feel safe sharing their own stories. Through this work, I want to inspire openness, validation, and a collective understanding that talking about these issues is the first step toward change.
Glitched Bodies: Reframing Endometriosis and Infertility
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Glitched Bodies: Reframing Endometriosis and Infertility ⁎
This exhibit called Fires In the Uterus draws inspiration from Legacy Russell’s Glitch Feminism and the powerful documentaries Below the Belt And Endo What?, offering a critical look at the societal and systemic failures surrounding infertility and endometriosis. After engaging with these films, I created graphic designs that reflect not only how they made me feel but also my personal experiences. Then going in with the graphics and using the Glitch Studios app which had a program called "Glitch Errors" editing software, I transformed these designs into digital art that embodies the themes explored in the exhibit. This exhibit critiques the way these health conditions are often dismissed, misunderstood, or marginalized, aligning with Russell’s idea of the body as a site of disruption and transformation.
On page 7 of Glitch Feminism: A Manifesto, Russell defines a glitch as “an error, a mistake, a failure to function.” This concept resonates deeply with the way reproductive health issues like endometriosis are treated often overlooked and dismissed as medical anomalies instead of conditions deserving proper care. Each piece in the exhibit incorporates glitch effects digital distortions, fragmented imagery, and disrupted patterns to symbolize the disconnection and frustration experienced by those affected. These visual disruptions not only highlight the gaps in medical understanding but also reframe glitches as powerful metaphors for resistance and resilience. Films like Below the Belt and Endo What? shed light on the silenced experiences of those living with infertility and endometriosis, aligning with the mission of the exhibit. These documentaries expose systemic inequities in medical research and care, while the glitch art serves to amplify these critiques. The digital distortions reflect the emotional and physical toll of these conditions, demanding attention and empathy for those whose struggles are often ignored. On page 9 of Glitch Feminism, Russell asks, “What defines the material of the body? What gives it value—and why?” This question is explored throughout the exhibit, which critiques the persistent bias that ties a woman’s worth to her reproductive capacity. The glitch effects visually deconstruct traditional ideals of the body, revealing the complex realities of those affected by infertility and endometriosis. These disruptions encourage viewers to see beyond the reductive labels that often define women's bodies. Russell also points out on page 25 that “glitched bodies are not considered in the process of programming new creative technologies,” underscoring the exclusion of those whose bodies defy conventional norms.
This theme is reflected in the exhibit’s use of glitch effects, highlighting how reproductive health conditions are often overlooked both in medical research and in media representations. Inspired by the narratives in Below the Belt and Endo What?, the artwork uses digital distortions to mirror the failures of both medical and societal systems terms, while offering a vision of empowerment and transformation.By embracing glitch aesthetics, the exhibit draws powerful parallels between personal pain and systemic neglect, challenging viewers to confront these issues head-on. The glitch becomes more than just an artistic device; it serves as a symbol of disruption, a call for awareness, and an invitation to imagine a more inclusive and compassionate approach to reproductive health.