Mitchell's gay art. The male erotic art and drawings of Mitchell and his thoughts about the artists and images that inspire him.
Mitchell's drawings depict 'Men Being Put in Their Place' and explore fetishes such as male bondage, domination and spanking.
To my readers......
I'm playing with the mitchmen blog format to improve the display of landscape pictures and text readability. If you see a post that's wrecked, please post a comment against it.
Thanks for visiting Mitchell's blog (Jan 18th 2018)
Xian's art illustrates tales of historical China, drawing on the absolute power that the aristocratic elite had over their servants and vassals.
Xian - Gardener 07
I'm not a great fan of historical scenarios or the costumes of those times (except for loincloths), however Xian's simple depictions have a directness that is quite arresting. The uncluttered style allows clarity of small details that would be lost in a more elaborate image.
Xian - Gardner 08
In addition, the depictions of the captives in these images have a certain elemental masculine charm that is most engaging.
As you can see, Xian had a well developed publishing style but I can't find his work on the web. He used to contribute to GMBA occasionally (link in sidebar) but I haven't seen anything there recently. Any information from readers would be most welcome as always.
For more articles in this series click on the A-Z label below or search for specific artists using the index page or search boxes (top right)
It's slim pickings for my A-Z under the letter 'X' but I have found some interesting pictures to post.
Xamda - Johnny and The Coach - After Hours
This is an interesting take on an old theme which has more fetish content than is apparent at first sight. I am unsure if Xamda is really the artist's name, I have been unable to trace him or this picture on the web. It's obviously computer assisted too making it a dubious qualifier under the criteria for my A-Z series, but I like it, it's colourful and topical even as we come up to Halloween.
I'm not normally a fan of masks but that wierd, clumsily stitched variation is quite an evocative ingredient. Are we meant to think the coach is not really the coach at all....? Whatever the case, would that we could all boast the same level of leg flexibility he displays for the benefit of his bound and caned student.
(information on this artist is welcome)
For more articles in this series click on the A-Z label below or search for specific artists using the index page or search boxes (top right)
This image continues the theme of muscular thugs threatening men who are younger/softer/weaker than themselves. It forms part of a series in which the victim is beaten and forced into sex by his attackers, which poses the unsurprising possibility that butch, thoroughly-nasty, queer-bashers can be gay too. However, essentially this is an image about the eroticism of power and fear, a narrative that does not really depend on sexuality.
Greasetank - Rib Bustin' Time
I have featured many images in this blog with a naked captive threatened by clothed attackers and such imagery is commonplace in the movies (e.g. Casino Royale). It is amazing how a few splashes of red turn such an image into something much more difficult to accept and, sadly, how much more real this scenario seems.
There is obviously an erotic dimension to this piece, spelt out by the exposed flesh, the site of the wounds and, more subtly, the guns (the guns!). However, there is no sexual interaction going in a conventional sense. You might suppose that both parties find it arousing, certainly the captive, who for once is both muscled and defiant, bravely confronting an inescapable, seemingly grisly fate.
These two attackers might easily have attracted his admiring attention on the street, their faces are not ugly but they are grotesquely contorted in expression of their sadistic pleasure. Cloaking them in Hell's Angels trappings suggests wildness and a
capacity for unrestrained violence that greatly adds to the forebodings of a very bad ending.
Interestingly the central figure's face seems to show the characteristics of a black man although his skin is white. Greasetank's faces often blur racial characteristics, it's part of his exploration of eroticism and this is a clue to understanding his art.
Greasetank - In The Woods
In this image there's a similar ambiguity about the dark-skinned captive whose face belongs to Greasetank's neutral, 'victim' persona more than any distinctive racial group. The noose is probably a more eloquent symbol of race hate. We know that this scene (like Greasetank's depictions of queer bashing and drive-by shootings) reflect real events that happen in the U.S. and is not simply the invention of some perverted imagination, but notice that there is no appeal to our sense of injustice, no clues to what has precipitated this scene, apart from the symbolic, frothing beer bottle and self satisfied grins. Those grins are part of some well-observed laddishness that might be quite attractive in a different context. In fact there's a strange sense that these muscular men are seducing their victim into his fate. That idea becomes more explicit in my next example.
There is much controversy generated by Greasetank's use of facist imagery in some of his pictures. Greasetank was born shortly after the Second World War and reached his
formative years towards the end of the 60's when the true enormity of
the Nazi war crimes against civilians and minorities was finally being
grasped by the world, long after the initial horror of piled-up bodies
had been digested. At this time the Swastika and 'SS' symbols were
synonymous with almost unimaginable, ruthless and terrifying cruelty in a way that is
hard for younger people to truly understand, although it is likely that
in the years to come the black flag of ISIS will achieve a similar
shameful notoriety that we barely comprehend as yet. When Greasetank uses
Nazi imagery in his pictures he is not promoting their ideas, but rather is symbolising in his thuggish characters the same threat of remorseless, unbounded cruelty driven by a twisted, ideological motivation.
Image self-censored by author - see comments below (click on title)
These men are not soldiers of the 3rd Reich but have merely donned (over-sized) elements of that garb. It signals evil, but with those enviable physiques and goofy, seductive smiles, Greasetank makes
it hard for us to see them as callous brutes. But here they are re-enacting the
worst excesses of that hated regime, gently ushering their (blind?) victim into a steel chamber with
a friendly, teasing tweak of the nipple while holding a lethal canister in hand.
This is a more developed example of how Greasetank depicts victims, diminishing them and deliberately contrasting them with the health and physical attractiveness of their captors and tormentors. In other pictures he takes it further, showing us emaciated, shaven-headed figures who still haven't suffered enough to be spared more torture. Why depict such cruelty?
Because of the death camp associations, these images shock and repel the intellect even more than the blood splattered ones. However, in the series of pictures of which this is a part, the striking characterisations give you an eerie
sense of witnessing something disturbingly real and of gaining fleeting
insights into the psychology of evil. It's not sexy of course but the thrill of horror we get is frighteningly similar. Our confusion is increased by the appearance of the perpetrators who, removed from the narrative, would seem quite attractive to many. How then would you feel if the roles were reversed and they were to be the victims?
These images are part of a progression in Greasetank's work. If you review the other examples in this article you will see the same
theme of unequal protagonists and callous indifference - no, of positive pleasure -
in threatening and inflicting suffering. According to Greasetank that progression chronicles his testing of his own limits in linking violence and sex, love and hate. You can either go along with him on this basis or eventually bail out at some point according to your own values.
However, we all bring our own experience to these pictures and if you feel you having suffered injustice yourself, as many gay people do, then you may well feel a strange sense of recognition in the plight of these victims. To then be able to see attractiveness in the perpetrators becomes all the more disturbing. To admire them or desire them seems the most extreme type of masochism. Don't worry, it's an example of the Stockholm syndrome at work. You may even mentally join forces with these terrible men, taking the chance in fantasy to mete out violence as carelessly as they do. Greasetank presents us with these frightening thoughts which no doubt he shared himself.
Image self-censored by author - see comments below
This image is part of a similar scene to the one above but I shrink from reproducing it in full. There are enough clues here to what the missing part contains but you'll need to join a specialist group like GMBA to find the unedited version. You'll probably have noticed how adept Greasetank is in using lighting to highlight the characteristics, good and bad, in his men in a sensual way and this is a striking example which serves to emphasise their unpleasantness too.
The masculine allure he manages to engineer for these dreadful characters does not just come from their obvious physical attributes, but from the facial expressions and body stances he gives them. These are highly authentic and convincing. He captures something very real about how men are, their personality if you like. It's a skill unmatched by most artists in this genre who tend to be preoccupied with the anatomical and the carnal. The result is some very seductive images despite their appalling subject matter.
work was seen as controversial and shocking and so it is, but that is
not a particularly enlightening response. Why do we find violence
attractive or perhaps arousing? Even when it's directed against the most undeserving? Even people like ourselves? Even when the violence is repulsive, why
do we still want to look on, not to witness the suffering but, in Greasetanks art, to watch the
pleasure it's perpetrators get from it?
There's an article about Greasetank at Queer Arts
which attempts to explain the rationale of his work in the stock
intellectual language of the art critic - shock tactics, forbidden
thoughts, shining a light into dark areas of the psyche etc etc and making comparisons with the Old Masters. However, the
essence of Greasetank's art really is contained in his own comment that
he's simply exploring how brutality and sexuality feed off each other and how we and he respond to that. As I have suggested above, the roots of that for some people may run quite deep. It might be more appropriate to compare his work with the Freddie Kruger school of movie making which uses (more subtly) the same ingredients. At root, Greasetank's work is simply erotic horror art and it's lush sensuality is testimony to that. Sure he takes some major social/ethical issues as his starting point and shines a disturbing light on them which speaks for itself. But giving them an unreal sexual dimension is not really contributing to any political debate, if anything it subverts it. But I don't believe that is his purpose.
Greasetank - Calling the Shots
For that reason I conclude with this picture from the 'Vietnam' group. It shows his skill with figure drawing focused more directly on the erotic content. The callous violence still subtly hovers in the background but arguably adds little to this particular piece which conceptually is a close relative of 'River Shooting' in Part 1 of this article.
Greasetank said his art would become uninteresting when it was neither attractive nor
repulsive. Most of his art is striving to be both, portraying sexuality, menace and threat, and giving fears a tangible expression. Most gay men will relate to those ideas as reflecting their own inner lives. He does go further than most to make the threat seem extreme and his most heavy-handed examples infuse the rest of
his work with a flavour of evil and danger that is undeniably fascinating. Viewing the outcome is both disturbing and illuminating for the open-minded.
died in 2009 and there is no website for him but you will find a
plentiful supply of his art via search-engines including his most
bloody envisioning and links to the blogs and sites of his adoring
Read this article from Part 1 text updated Jan 2017
Greasetank has a uniquely legendary status amongst S&M art fans. It stems partly from the exceptional extremes of violence and cruelty which he often depicted but also from the expressive sensuality and drama which infused his most memorable images.
Greasetank - Why don't you officers just eat me?
Villains were at the centre of his works, like 'Johnny' above.
Evil men but with looks and attitude that commanded attention and admiration.
Greasetank's badmen have a penchant for arbitrary violence, often using guns and sometimes knives. But no matter how unpleasant, these marauding thugs are always depicted as muscular and strong with villainous good looks. Greasetank uses dramatic lighting to enhance the masculine characteristics of the gunmen. If their weaponry augments their masculinity, their nudity also augments the menace of their guns. The victims are anonymous, mere accessories in this particular Greasetank atrocity and in general rarely achieve equal representation with their attackers.
Greasetank - River Attack
Naturally sex also forms part of the heady mix. I love this representation of sailor-dom with the young rating servicing his older, bigger (and straighter?) shipmate, who keeps marauding locals at bay with a machine gun while lightening his load. The linkage of sexual prowess with guns and ejaculation with shooting, is unmistakeable.
The whole scene is infused with eroticism and drama. The lighting treatment is atmospheric and alluring and through it you get a sense of Greasetank's underlying artistic prowess. At this stage he is still wrestling with the usual problem of creating clothing in CGI, but the facial expressions of the two sailors are very arresting, the older one's determined grimace seemingly borrowed from 'Popeye'.
There's a touch of gung-ho, boys comic adventure ca. 1950 about this scenario. There's a whiff of racist sentiment too and it also hovers around Greasetank's Vietnam War images. However, in his All-American 'Red Neck' images he shows blacks as both victims and perpetrators, but only occasionally, so I'm inclined to give him the benefit of the doubt in this department.
Greasetank - Fag Patrol
Cops raiding a night-time cruising ground and for once the victims take centre stage. Their leather attire speaks of experience not experimentation. But notice how young and vulnerable the two compromised gays seem in contrast to the examples of aggressive straightdom seen in other pictures in this article. How terrified they are by the threat posed by the weaponry levelled at them and the threatening attitude of the visible captor. With the damning, rather unpleasant dildo evidence centre stage Greasetank almost seems to be setting them up here. He gives you a sense of how perceived weakness can become an excuse for abuse.
Greasetank - We're Coming For You
Greasetank more usually depicted homophobic violence at the hands of gleeful rednecks ruthlessly brutalising their favourite prey. This is a gay boy's nightmare made real*. Men whom he might find sexually attractive are invading his bedroom at night with the obvious intention of doing him harm and motivated by drunken-ness as much as any rational thought. The unfairness of it all and the imbalance of power is spelt out in the contrasting depictions of the characters. If you find this erotic despite yourself, you are discovering one of Greasetank's conundrums - if these people hate us so much, why do we find them sexually attractive?
*it's my supposition that this is a homophobic attack, Greasetank's pictures often accompanied stories and I'm not familiar with this one. There are internet sites that reproduce these stories.