In the early 1950s, Kara moved to Los Angeles and worked in the wardrobe and costume departments for both Universal and Paramount Studios, in addition to continuing high- fashion design. In 1953 he began a two-year trip around the world, much of it on bicycle. After his trip, he returned to Los Angeles and resumed work as a fashion designer, making one dress every two weeks. He also began to work on his own projects in painting, drawing, and especially sculpture. In 1962 he quit the fashion industry and moved to Big Sur, California, set up his sculpture studio, and remained there until his death in 2001.
“I’m a worker. I belong to the working class. I love physical labor, that’s why I chose wood. Painting and drawing were too contemplative for me,” he told writer Rick Deragon in 1990. Although he had experimented with other media, Kara worked with wood exclusively. He particularly liked redwood, but also used cherry, oak, madrone, and other woods. Kara lived in isolation and did not pursue fame and fortune. He rarely exhibited his works, although he did accept some commissions, including the doors of Congregation Beth Israel in Carmel Valley. He produced art without regard to the latest fashion, but rather, he listened to his inner voice and created works of great beauty.
“Turning art into a business just didn’t work for me,” he told writer Jahn Curtis. “A lot of artists feel frustrated because they have to adapt themselves to the market. I adapted myself to the market the first years of my life. These sculptures have nothing to do with money or what somebody wants, they have to do with myself.”
“I work very hard when I do my sculpting, ten to twelve hours a day,” he told Curtis during the same interview. “I have outrageous energy and very good discipline. I get caught up in whatever I am making.”