Gabriella is a survivor of the Holocaust. She is dedicated to educating young people in schools, at the Los Angeles Museum of the Holocaust, and the Museum of Tolerance. She has been invited to schools, synagogues, youth camps, and many other events to help students to understand the history of the Holocaust so it should not repeat again.


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This is a documentary about Gabriella Karin's life during the Holocaust.

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10,000 children were saved through the "Kindertransport," which was the series of rescue efforts which brought Jewish refugee children to Great Britain between 1938 and 1940. 


Press coverage

This LA Times article appeared in 2016 and featured Gabriella's outreach to public schools in the Los Angeles area.

Gabriella is a docent and speaker at the Los Angeles Museum of the Holocaust.

Gabriella is a docent and speaker at the Los Angeles Museum of the Holocaust.

Gabriella often speaks to groups of 100's of people at he Museum of Tolerance.

Gabriella often speaks to groups of 100's of people at he Museum of Tolerance.


March of the LIving

Gabriella has participated in the March of the Living trip to Poland and Israel every year since 2012. She speaks to the students of her experience and encourages and advises them.

Righteous Conversations Project

Gabriella has mentored students and participated in the Righteous Conversations Project since its first workshop in 2010.


On February 9, 2017, Gabriella was awarded a Certificate of Appreciation from the City of Los Angeles for her dedication to preserving the memory of the holocaust.



By Professor Ken Calvin, Art Critic

Whimsy and realism are prevalent in the sensitive small sculptures of Gabriella Karin. The viewer is drawn into layers of meaning, nuance and emotion that reflect her career in fashion design and a childhood of surviving the Nazi Holocaust. To fully understand the meaning of her sculptures is an extraordinary experience.

Gabriella Karin’s work mixes impish humor, tragic directness, subtle estheticism, child honesty, and loving, forgiving acceptance of the human condition. These qualities are present in three general categories of her work.

First, Gabriella Karin is drawn to dark flowing exotic figures that suggest the image of the universal feminine in us all.  Featureless stones form the hooded heads atop mysterious figures in abundant flowing gowns. These slight figures are simple, straightforward, minimalistic, slightly erotic and haunting.

A second group of work focuses on Gabriella Karin’s effort to recapture her childhood stolen by Nazis, when her family spent 24 hours every day for years in small hidden rooms in her Slovakian homeland. One is reminded of parallels of the experiences of Anne Frank. Remarkably she has clearly succeeded in creating cheerful, coy, relaxed and loving images of children at play.  One wants to join them.

Her third group of work is larger and more complex,  She depicts actual scenes from her memories of cruel soldiers, starving prisoners and stark reflections of the horror that history and circumstances forced her to witness. There is no anger, bitterness or revenge motivating this powerful work. Its strengths is in its compelling honesty against a strong implication of hope that unjust persecution and cruelty will end for all of us for all time.

One senses Gabriella Karin will, in time, transcend her heavier, sadder work for brighter, more playful images that she seems to enjoy so much. The twinkle in her eye and the strength behind her pleasant demeanor make one believe that she will neither forget the past, nor be held by it.

Like many of us, it appears Gabriella Karin is drawn by power of her own images of children at play and the clear belief they will grow up in a better world than she did.