I get a lot of people asking...

Out of the many e-mails I have received a number of questions have been asked over and over again.Here are a couple ,just in case you felt like asking. I could have called this FAQ's , but who ever reads those?

"Why don't you update your pages more frequently?"

The tyranny of having a website is that people are always expecting to see new things- understandable, but in my case I do not set out to present a changing show. What benefit would that be for me-having all my work virtually given away without any financial reward? A drawing takes some time to produce-to plan it out well ( I do not think I can just churn it out like a hack) and then to actually draw it out. You or I could go out one evening , take 400 photos or so at a party, go back home and make an enormous website or book out of it. I'm lucky if I can make one drawing in an evening.There are sites offering 200 new images a week but do any of them show any imagination?-and a photo can only show you what is already around. It cannot take the imaginative leap that that art can.
But why look at it in terms of quantity? In all his career Vermeer only produced 30 or so paintings yet each one a jewel.

"Where can I buy your book?"

I have enough work put together to make a decent sized book but getting it published is another matter. Certainly I can design it all myself but its the distribution that

is the problem Either you hot foot it yourself from shop to shop or you make a deal with a publisher. It is a matter of finding the right one to deal with it. As the situation stands there are few publishers in England ready to publish an art book about SM so I have to look abroad. All of which takes effort and time.

"How long does it take to draw one?"

Probably no other question is more frequently asked of artists and none more difficult to answer.
When does one begin a drawing with all the thoughts about composition in ones head? I have roughs sketched out years ago-I have forgotten how long they took to make or how long before I even put pen to paper.Please-just accept that drawings are done when they are done.It's like trying to judge a cake on how long the cooking time is.The recipe and experience of the chef is the important thing.

"Do you only paint in monochrome,i.e. black-and white?"

Well,no-most of the illustrations for Leg Show were done in colour but I do think that monochrome conveys a much more surreal and erotic effect. We are living in an age that has abandoned it as old-fashioned but I think this is misguided. It has a flavour all of its own.


About the Artist

from the Alice Kerr-Sutherland web site

"Sardax" is without doubt one of the most accomplished disciplinary artists in the world. His work has appeared in Skin Two, Zeitgeist and The Other World Kingdom journal, but he is more closely associated in the public mind with the illustrations he has created for The Alice Kerr-Sutherland Society's House Journal, The Governess; he has produced 13 out of the past 15 covers, as well as a great more material; and of course AKSS Books, where again his distinctive and often dazzlingly intricate work is generally to be found gracing our book jackets as well as within the books themselves. Four of our books have been fully illustrated throughout by Sardax: The Queen of the Grove, A Perfect Mistress and, most recently, Taming the Household Beast and other Domestic Arts and In Front of the Girls.

A conversation with Sardax

So who is Sardax,anyhow? Why the strange name?

It's a shame to admit it, but it is actually a mild form of marketing in the same way as an actor will modify his own to make it more memorable. Admit it, doesn't the name sound more interesting than Smith,for example? Where does it come from? I had a jacket with a label called Sardar at one time and catching sight of it one day I read it as Sardax-it suggested a few ideas to me-sardonic, sarcastic,Sardou (the french playwright and author of Tosca).The -ax tag reminds you of the French artist Crepax and it is the Latin origin of any adjective we use today as -acious, as in salacious(!)

Why so many orientals?

Not surprisingly, it has become a bit of a trademark. Well, it is just what I like-no more. I don't believe in any racial superiority. I just find oriental looks very graphic-the dark hair surrounding the pale skin, contrasting with the black eyes, especially as I prefer to work in monochrome. I like Western looks too, and have probably drawn just as many, but this is my speciality.

Your works must be popular in the Far East,then?

Actually, although I know a few people in the same sphere in Japan, the reaction always seems to be "why not Western girls-aren't they bigger and more powerful?" Phyically, maybe, but for me females who control with their minds are much more attractive and rather than see a giant Scandinavian crushing a guy with her biceps I prefer to see a slightly built young woman forcing a male twice her size to his knees with just a glance.

Who are your influences?

Actually although I admire certain artists there are very few who really specialize in Fem Dom so I feel like I'm blazing my own trail.There is a Japanese illustrator who I admire called Harukawa Namio who specializes in really fat bottomed girls, but apart from him, Stanton, and a few others the field is quite narrow. I much prefer to depict scenes rather than pin-up type girls. I like to show an interreaction between female and male. Among my favourites, I've always liked John Willie's watercolour paintings. Although he generally shows submissive females, they are all reacting to their masters and mistresses in an ecstatic manner. This is what really interests me. For black and white illustration I like the engravings of the Viennese Franz von Bayros and just at the moment I'm passionate about a French illustrator called Herric who illustrated erotica in the early part of this century. Sadly all these are dead White males. Shows how out-of-date I am.(sigh...) Hang on, though-Eneg was good, too, and he was black.

What sort of medium do you use?

Most of the ones on this site were painted in watercolour, and enhanced with permanent white gouache and black Indian ink. I used a variety of papers but generally a smooth hot-pressed paper stretched over blockboard.Currently though I'm quite enthusiastic about computer-rendered art.No, I don't mean Poser,Bryce or any of those packages which just produce souless plastic creations which have no style and all look the same-I mean drawing on paper in line then scanning in and colouring up using Painter and Photoshop.You can see the results of these experiments at www.humiliatrix.com for whom I am producing a steady stream of work.

Who buys your work?

Almost anyone- from wherever in the world ,dommes in England,businessmen in New York,OWK in Czech Republic -even another artist in Australia though it does seem to be ordinary working people who understand the strange idea of my needing to be paid a decent rate for my work.Most people buy simply because they love to have something of mine to look at, for investment secondarily.If you wish to find out more about commissioning an original go here

Are you ever lost for ideas?

For my own personal fantasies, no. I have an envelope bursting to the seams with at least a hundred ideas in different stages of development, all waiting for their turn to come to the drawing board. Some will coalesce into others,some will just die off and the lucky few will be there at just the right moment when I need them.

You have talked on one occasion about how you believe there is a religious dimension to feminine domination. Could you elaborate on that?

Like love itself, I believe the thrill of feminine domination can range like a spectrum from the infrared of dungeon mistresses through to the ultraviolet of an Eternal Feminine, who leads us to her adoration. Women can show themseves the dominant in so many ways that it is a shame not to include its spiritual side.I think that when a beautiful woman places a whip or cane in her hands she is taking on the image of the Goddess,she who must be obeyed. Of course I'm talking fantasy here.Real life is another matter!

Do you work from models, photos or from imagination?

All three.There are advantages and drawbacks to each, though. With models you have to have the patience and tact to get them to pose in just the right way, and the more dominant they are naturally, the more difficult it is for them to do what I want but then,yoou do a much more authentic end-product .Often, it is just not worth the hassle, and I fall back on drawing fom imagination. This is surprisingly easy, but you have to be careful that you don't just keep repeating a clichZ˙d face or expression,etc. I find in the end photos and videos taken from models give me the veracity that imagination lacks, but rather than tracing them, I prefer to study them and translate them into just the pose I want. From experience I know that tracing photos results in a stiff and lifeless drawing.In that connection I prefer to look at the work of amateurs drawing from their heads rather than careful tracings of photographs.