SOARING EFFORTESSLY
The artistic voice of Kirsten Kokkin - one of the foremost contemporary
figurative sculptors.
By Dianne Cauble Isolated
and shy as a child, Kirsten Kokkin spent afternoons in her native Norway
drawing and painting imaginary scenes. Her innate artistic talent was
a voice to communicate with those around her. As a result, art became
her primary form of personal expression, conveying emotions she found
impossible to verbalize. That artistic voice continues to be heard,
and Kokkin, one of the foremost contemporary figurative sculptors,
creates monumental works for installation
in public and private spaces from Norway to Australia to the United States.
Her distinctive pieces transcend physical limitations, soaring effortlessly
in a perfectly balanced flight.
Living
in Denver for the past eight years, Kokkin works out of a large studio
adjacent to her home, conveniently located near some of the country's
best foundries.
"I Iike to be involved in the casting process. It's essential for
me to see the wax, and the result before the patina. I spend about three
or four hours daily being creative, and the rest handling detail work
with production and the foundry."
Kokkin's
diverse artistic abilities were carefully cultivated during her years
attending Scandinavian art schools. In Norway, these institutions
are not a part of the university system. Only a limited number of students
are accepted; and all are provided a full scholarship. She feels fortunate
to have started her career there, where art is generously supported by
the government.
"The competition is quite fierce and there's a lot of pressure before
entry. But once you've been accepted, you have wonderful freedom. There
are no worries about the basics of survival. But Norway has very strong
criteria about what constitutes an artist. A person isn't considered
an authentic writer until he or she has several books published."
Kokkin
was drawn to sculpture by its hands-on, three-dimensional aspect.
Her strength lies in her interpretation of the body - its composition
and movement, with expressions that are quite subtle. She used her classical
background where the body is a reliable source of inspiration to express
emotion.
"I especially enjoy creating dancers. The first position in ballet
is the beginning of life for a dancer. I like the simplicity. I've studied
movement myself, both classical and modern. In the U.S., the subtlety
of my expression sometimes works against me. Most American art is quite
clear to the observer. It's a difficult challenge to clarify the message,
but I think it's healthy to have to look for other ways to reveal my
intention." Working
primarily though commissions, Kokkin has now been sculpting for 28
years, 18 of those professionally. "The most satisfying aspect
is the process, beginning with the design. I don't start on paper, but
make a three to ten inch maquette, often using a model. I go straight
for action and proportion."
Unconcerned
at this point with details, Kokkin then creates a one-fourth to one-third
size rendition, to infuse exciting movement. Finally, she
produces the full size. During each transition, something inexplicable
happens.
"The
piece takes on a life of its own, and I develop a very strong relationship
with it. The challenge is to listen and not force my idea
on the subject. It's as though the sculpture is trying to tell me something." Living
in Denver, Kokkin seldom gets the opportunity to interact with other
artists, although she occasionally teaches at the Denver Arts Students
League. For creative inspiration, she travels to Europe at least twice
a year.
"I visit my colleagues and go to the museums. It's something I must
do for myself emotionally. This past winter, I went to Palm Beach, Florida,
to teach a workshop and I loved it. The palm trees and pelicans, the ocean
and the tropical climate were an invigorating change."
Although
she's a risk taker in life, Kokkin sticks close to what she feels
is natural in her work. She emphasizes the importance of listening,
and
of mastering the basics - learning to handle the clay and materials.
"Ultimately you make art with your heart and mind, not with your
hands. It's important to have a vision. I've met a number of difficult
challenges during my career, and I've been a gypsy traveler. At 27, I
took on the project of sculpting 14 busts for an Australian family. That
commission took a lot of nerve and guts. There have been a lot of projects
where the odds were really against me, but somehow I managed to pull
them off."
One
adventure required that Kokkin create a figurative/abstract form of
a sailor clutching a boat fragment. That object now stands in Aeslesund,
Norway, a commemoration of fisherman lost at sea. Though she's generally
drawn to nudes and dancers, she is currently producing a life-size
wall
sculpture of the Archangel Gabriel for a Chicago church.
"This past year I've noticed changes resulting from my desire to
express more real emotions. My previous work has always been very defined
and detailed. Now, I want to go straight for the heart. I like to think
that my best is yet to come. The freedom to explore and be open is very
important toward achieving that. I want to aim at the core of human emotion.
It's essential for me to define what I stand for and what I mean."
This
summer, Kokkin will journey once again to her native Norway, where
she will explore and sketch the familiar countryside of her childhood.
A personal journal will capture her observations on art, philosophy,
and poetry, while her drawings will once again communicate her deepest
inner
self.
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