So who is Sardax,anyhow? Why the strange name?
Sardax is the nom-de-plume of myself, an English artist living in London.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(!)
How did Sardax.com come about?
This site is a way of bringing together work which I originally showed in Sartopia-my free site which is now superseded- but now with weekly updated fatasies and stories, many ideas having been in my mind for a long while but never having had a chance to be expressed.
In June 2001 I started a similar site called Oriental Whip Queens together with a fellow lover of oriental femdom-Nimrod.Although the subject was rather specific subscriptions were reasonable and we had great fun until the fateful 9/11 which killed the site dead. It affected a lot of other people in the paysite world too, so I hear.Still that was nothing compared to some people’s loss.
So we closed that New Year 2002.Then began the very fruitful relationship with humiliatrix.com which still exists.Drawing one image for them almost every week served to sharpen my computer skills and evolve a method of coluring line drawings using computer painting techniques.Still there were subjects which were just too bizarre to fit into the range that humiliatrix desired- February 2004 I decided to screw my courage together and embark on this-my own site.
What’s all this about cheesy living rooms and banale dungeons?
I have nothing against living rooms or dungeons in themselves,or the photo-shoots that take place in them.But as an artist I want to be able show just how imaginative femdom situations can be, whether in terms of place e.g,-tropical rain-forest, an Alpine scene, a Greek valley; in terms of time-historical settings like Roman ,Victorian etc or just so completely off the wall they belong to no time or space continuum at all-and yet all femdom. Just to breathe a sliver of imagination into the whole genre.If you are yawning everytime you wade through a gig of similar photos showing dungeons or living rooms I sympathise with you.I feel it myself.
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.Sardax.com shows that I delight in so many different foms of the female-from tall blonds to petite orientals,heavy black girls to dumpy Greenlanders..(well, all right,I’m thinking about that last one)
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?” Physically, maybe, but for me females who control with their minds are much more attractive and rather than -say- 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 am not a fetish artist.I prefer to be known as a femdom artist.Although fetish is usually thrown together with femdom the two concepts are independent. Femdom can and often does take place wthout fetish clothes .Moreover 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.
Why do your males look so ill and sick?
They are in the throes of agony and passion.So they should appear to be tormented .They desire but cannot have.Further, the more awful they look they serve to accentuate the beauty of the mistress herself who is as collected and radiant as they are in torment.
What sort of medium do you use?
Many of my classics 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.
For the fantasies and stories on this site I draw on paper first in ink-this is an artwork in itself- then scanning in and colouring up using Painter and Photoshop.I first began using this method when producing artwork for my own site Oriental Whip Queens. The original line drawings are kept and enhanced..going into another direction as collectable art.
Who buys your work?
Almost anyone- from wherever in the world – dommes in England wanting art for their rooms ,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. Finding a subject for updates on sardax.com once a week is not the problem..welding them into something attractive is something else.
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,you do a much more authentic end-product .Often though it is just not worth the hassle to get a pose done and I fall back on drawing fom imagination. This is surprisingly easy once you know all your anatomy and have been drawing as many years as I have, but you have to be careful that you don’t just keep repeating a cliched 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