Harumi Klossowska de Rola’s life and artistry are a harmonious blend of history, culture, and a deep connection to the natural world. Born in Geneva, Harumi grew up immersed in the rich artistic traditions of both East and West, each leaving an indelible mark on her vision that have ultimately guided her creative journey. Her strong family legacy, both artistic and intellectual, played a pivotal role, nurturing a deep respect for the spiritual essence of nature that reverberates throughout her work today.
Whether through the graceful lines of her intricately crafted jewelry or the commanding presence of her totemic sculptures, Klossowska de Rola has learned to channel nature’s power—its untamed beauty, impermanence, and sacredness—into pieces that bridge the human spirit and primal forces.
From the age of five, she lived in the Villa Medici in Rome, where her father, the painter Balthus, held the prestigious position of Director of the French Academy. It was here that she began her artistic journey. Surrounded by artists and scholars, she was drawn to the villa’s expansive gardens and its scattered mosaic stones, which became an early source of inspiration. “I loved the blue color,” Klossowska de Rola recalls. “I was obsessed with the shapes of stones.” She began collecting them, making little arrangements as gifts for her family. “Only my dad kept precious all my glued-together sculptures made of stones. I was very moved that he did that.”
The pets of the artists and visiting guests also left a lasting imprint on her imagination. Her fascination with these creatures would evolve into a lifelong exploration of the sacred bond between humans and animals. “I’ve always felt this spiritual connection,” she says, an influence that would become central to her artistic practice. “My artistic path came to me gradually, piece by piece, over time. My father’s first wife, Antoinette de Watteville, was like a grandmother to me. I would spend most of my Wednesdays and sometimes weekends at her home, Fleur d’Eau, which was near my school in Rolle. She was a passionate collector of Diego Giacometti’s work, and I spent countless hours surrounded by her collection, which had a profound impact on me.”
Though she was always drawn to the tactile nature of sculptural forms, it wasn’t until her years in Paris in her late adolescence, working in public relations for a young John Galliano, that she began to seriously consider jewelry as an artistic medium, and took her first steps toward design. “My sister-in-law, Loulou de la Falaise, was a huge influence when it came to jewelry,” Klossowska de Rola says. “She designed the accessories for Yves Saint Laurent, and every Christmas she would come over, always dressed so elegantly, covered in beautiful pieces of her own creation.”
In the early 2000s, Klossowska de Rola moved to Los Angeles to carve out her own identity. It was during this time that she was approached to design a piece for Boucheron’s 150th anniversary—a project that marked her debut. “I proposed a snake, and they loved it, so I did a big necklace for them, and an arm bracelet, and that was the beginning. Then I started working with Chopard, which gave me enough to start my own collection, for which I used horn or wood that I mixed with gold.” It was not until she created her first sculpture with Patrick Laroche after visiting a Lalanne exhibition that she was inspired to think about objects and sculptures: “With the jewelry I was making, I relied on others for the metalwork and stone setting. But with sculpture, I felt more hands-on. I can model the piece myself, create the skeleton, and shape the way I envision the material.”
Klossowska de Rola’s work, though extremely personal, is deeply collaborative. Whether she is designing small objects or sculpting large-scale works, she values the input of skilled craftsmen. “What I love most about sculpture is that I’m not the only one involved in the making. I’m part of a process, which may be originated by me but depends just as much, if not more, on the know-how of the craftsmen at the foundry that makes my pieces. More than anything else, I value that conversation with the people who work on the mold, the wax, the metal chasing, and the final touch of the patina.” This collaboration is vital to her work, which she approaches with patience and care. “The slow pace is essential,” she says, “because it allows the time to explore and shape the piece until it feels right. Each one has to live through its own process of creation.”
Her scale and style have evolved through collaborations, such as one with the architect Joseph Dirand, whose private commission for a 20-foot-high tree sculpture marked a shift to monumental works. “Working at that scale was a natural progression,” Klossowska de Rola says. “It’s about creating a dialogue between the piece and the space it occupies.”
Today, Klossowska de Rola lives with her husband and children in the stunning serenity of the Swiss Pre-Alps, amidst the natural beauty of towering mountains and sprawling forests, in the famed Grand Chalet her family has owned since 1977. An impressive wooden edifice with an intricately carved facade, its magical quality instantly transports you into a fairytale landscape. Originally a hotel, the property has a rich history, dating back to 1754. More than just a home—it’s a place filled with personal and familial memories that has been a constant throughout her life.
