The devil isn’t always in the details.
Even if you look closely at one of Cristina Jobs‘ children, you will find it difficult to tell that it is made of silicone.
He cries and wants a pacifier, needs a diaper change after being fed, and has a chest that rises and falls with every breath.
“It’s those details that the eye can barely perceive, like capillaries, veins, that tell us it’s something that has life,” says the Spanish hyper-realist sculptor and creator of the brand Babylon when he welcomes RockedBuzz via Euronews Culture to his studio in Deltebre, northeastern Spain.
When Cristina started out working on her own, she now has a talented group of people working in her studio. Their team of seven can make about 20-25 babies a month.
“It’s all completely handmade and customizable,” explains Cristina.
The average value of one of her children is 2,000 euros, but orders range from 1,500 to 8,000 euros depending on demand.
Go beyond realism
The world of artistic makeup and special effects was a stepping stone for Cristina into the world of hyperrealism, but initially she didn’t expect to enter the world of silicone dolls.
“Children? In silicone? Who buys this? was Cristina’s first reaction when a collector advised her to dedicate her talent to creating children.
“I come from a special effects background,” adds Cristina, “which are supposed to be weird people who create zombie monsters. But this thing (hyper-realistic babies) seemed to me to cross that line… But what I discovered when I started in this industry is that, behind it, there was a very nice sector.”
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Cristina noticed a lack of professional technique in the baby-making market and decided to use her experience with special effects to take her products to the next level.
Her creations “became something that surpassed the hyperrealism that was known at the time” and Cristina wants to push her models even further.
“We are moving towards artificial intelligence,” explains Cristina, talking about an upcoming project. “Physical objects that are unable to create an interaction with a person end up boring and monotonous. That’s why I decided to implement artificial intelligence in children.”
Beyond Children: Special Effects and Movies
Cristina’s incredible creations aren’t limited to silicone babies, she also works on special effects for movies through her company ClonFactory.
“The cool thing about special effects is that every time you make a new movie, it’s something you’ve never done before because even though you’ve done, say, a lot of leg injuries, it’s not the same actor, the actor isn’t I won’t handle it the same way, it won’t be in the same context,” says Cristina.
In addition to wounds, injuries and special effects makeup, he also does models and sculptures for film and media. One piece about her in particular brought her a lot of international attention:
“Avatar was a key project. It went viral all over the world. We even made headlines in India. It was like, overnight, having ten thousand emails in my inbox. It was awful. I was living on a cloud,” he says.
Despite her busy schedule as an entrepreneur, Cristina also makes time for personal art projects as she believes they are an important outlet.
“Entering the art industry as a hyper-realistic sculptor was something I really needed, because I had been working for many years, ever since I started in special effects, always working on commission… I felt this need to create what I wanted because I wanted, and with the message I wanted”.
Under the stage name Cristina Jobs, her artwork addresses themes related to motherhood, feminism, and education.
“I have a rather rebellious background and unfair situations in society move me… I need to express them.”
In one project, outside the Reina Sofia museum in Madrid, is one of Cristina’s artworks: a realistic-looking giant crying baby, calling for the need for a new law to protect nursing mothers in public.
“And the baby won’t stop crying until he has it,” she concludes.
Watch the video above to discover Cristina Jobs’ surprising children and hyper-realistic creatures.