There have been so many talented artists who have contributed to the success of Sin City Gallery’s 12 Inches of Sin juried art exhibition over the years. Their focus, dedication, and excellence towards their craft continually raise the bar so that fellow artists may be inspired and discerning collectors may appreciate their work even more. Over the years, I have wanted to learn more about each of these phenomenal artists to discover more about their backgrounds, understand who they are in the world and uncover more works from their art portfolios. With that in mind, I am excited to shine a spotlight on 12 Inches of Sin artists through a series of interviews.
I am delighted to share my interview with Karin Swildens! Her personal and professional background is dazzling. She was born in Holland, raised in Morocco and studied at the Ecole Superieure des Arts Decoratifs in Paris, France. Her career in the creative arts is beyond ordinary. She designed Hermès scarves, illustrated children’s books and magazines, and worked at the Musée du Louvre in the restoration department (paintings). She eventually jumped the pond and found her way to Los Angeles Her sculpting career began in the 1980s.
I have been a fan of Karin’s work for almost 20 years. I first discovered her work in a beautiful collection by a revered collector of erotica in Paris, France. I was there to cultivate relationships with other museums and collectors in Europe to design exhibits for an art facility in Las Vegas. When I created Sin City Gallery and the juried art exhibition, I invited her to participate. I was incredibly honored when she submitted words to 12 Inches of Sin. To be honest, I was over the moon-happy and I am glad that the judges were moved by her work to invite her to exhibit.
~ Dr. Laura
INTERVIEW
LH: What has been your inspiration as an artist?
KS: As a child, I believed myself to be an Artist before anybody ever inspired me. It was normal in our household to be drawing, painting, making… Dad was an artist! Once I discovered clay, I was inspired by stories, legends, mythology and medieval art. I wanted to give a shape to a feeling.
LH: What artists do you admire and who do you find to be inspiring?
KS: My first loves respectively were Rembrandt, Paul Klee, and Marc Chagall. Later, I felt attracted to the sculptures of Zadkine, Henry Moore and Botero.
LH: You are an amazing sculptor! How long does it take you to create a piece of art?
KS: Obviously, it depends on the size of the sculpture. If small (hand size) and solid (not hollow), it can take a day. If it is a large piece (arm size), I may take a week or two. Then comes the two weeks drying time and another week for the firing. In other words, 20 years of experience and a few weeks!
LH: Is your preferred medium clay or bronze?
KS: All my sculptures have been made of high-fired clay. Those in bronze have been cast in bronze after a mold was made on the high-fired (hard as stone/rock) clay sculpture.
LH: Tell me about your technique and process?
KS: My preferred medium is clay! It is soft, malleable, sensuous and always ready to be shaped into every whim! And, the best tools are my hands. For the technique, there is a step-by-step video on www.karinswildens.com (the making of an egg). I work with slabs of clay and I build up every piece from the bottom up with the left hand inside the piece to control the shape and thickness and the right hand adding the layers. I follow a design that I have outlined on paper beforehand. Then, I see the inside and outside of the piece with the tip of my fingers.
LH: What are the most important tools that you use? For example, favorite wheel, instruments, etc.
KS: At first, no tools except the hands! I do not work on a wheel. For me, clay on a turntable is uncontrollable and wet! I am hand building with strips about 2 inches wide. I use the clay in its moist form, roll it out with a simple rolling pin and start building. When the piece is standing, I work on the texture and define the shape – usually with a serrated knife. If I want a very soft and slick surface, I use sandpaper, first with the sandy side, followed by the paper backside. This is my trick! Another good tool is an old credit card to smooth a surface. Any clay kit is more than enough to start with clay.
LH: Any additional tricks of the trade you care to share with other clay artists?
KS: The only clay lesson I received was in 1982 when I started was given to me by Ken Catbagen, who was with Nathalie Neith, the owner of the Clay House (where the scene of Ghost was filmed). He said, “I don’t make your slabs thicker than 1/4 of an inch and don’t leave any bubbles.” This sentence kept me busy for 40 years. Other than that, for hand building, I don’t add any water. I make some slip (a clay slurry) ahead of time to stick two pieces together.
LH: What is your most favorite tool?
KS: My hands and that serrated knife.
LH: What is your favorite thing to sculpt?
KS: That would be a “Buddha Pebble.” Originally, I wanted to make 10,000 of them, but when I reached Number 100, I compromised with myself and knocked off a few zeros to fulfill my ambitious project. I sold many, but I have kept 21 of them that make a beautiful triangle statement together on the wall.
LH: What are you currently working on now?
KS: This may be deceiving for some, but for me, it is a blessing. I am cultivating “nothingness.” It is very peaceful inside. I wouldn’t know how to express it through a sculpture, not even a drawing.
LH: Is the majority of your work erotic?
KS: No, the majority of my work is not erotic. It is only a part of my work.
LH: What do you like about erotic art?
KS: I like to find out how other artists express their feelings, hormonal surges, attractiveness and their sensuality.
LH: How did you discover 12 Inches of Sin?
KS: You invited me to submit my work and the rest is history!
LH: Dare I say, but lucky for 12! And, lucky for world, too! What do you like about 12 Inches of Sin?
KS: 12 Inches of Sin is one of the rare places/galleries/showcases where erotic art is taken seriously as art and not as pornography.
LH: For those who might want to visit you in person, where is your studio?
KS: My studio is in Los Angeles and one flight of stairs away from my home.
LH: < Note to Readers: I’m so jelly about this home/studio setup! Additionally and for the record, I wish I had a smidgen of Karin’s talent! >
LH: What advice would you give to the next generation of artists?
KS: If you feel it, DO IT !!! Space and time disappear! It is a Bliss!
I want to thank Karin for taking time out of her busy day to answer my questions. I hope you, the reader, have enjoyed getting to know her a little better and that perhaps knowing her background provides a greater appreciation towards her marvelous way in this world. I highly encourage you to follow her, discover and collect her work. Karin is a spectacular artist who inspires everyone she meets and, suffice to say, her work is greatly desired worldwide.
Contact Information
Website : www.karinswildens.com
Email: k.swildens@gmail.com
Instagram : karinswildens ( Over 400 works to see! )
Telephone: 001 310 441 0126 ( Always leave a message, please. )
Studio / Showcase by Appointment in West Los Angeles
