The Art of Homoeros - 4 'Abused'

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This beautiful man faces his intimidating captor not knowing what his fate is to be. The dilapidated shed they are in is no prison or torture chamber, but it's private and remote and basic enough to imply that unpleasantness lies ahead. His captor looks a bit of a brute and immensely strong (a relative of the ogre in part 2?) He also has a natural grandeur about him and the simple act of clothing him in jeans while his captive has to kneel before him totally naked and bound suggests he intends to assert his authority over him quite ruthlessly.

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This is Tyler who's been banged up in prison and fallen foul of a sadistic warder, being forced here to perform naked press-ups. In Tyler you can see how the artist's shaping of his models to suit his own erotic preferences, produces exaggerated body shapes which are not entirely realistic and not always elegantly assembled from a technical point of view. However, Tyler's unusual body somehow accentuates his nudity and exposure here, particularly in comparison to the very normal-looking guard. His slender proportions confer an expected sense of frailty on his muscular body and, coupled with a boyish face, makes you feel he doesn't really belong in a place like this and is very vulnerable. But in this typical homoerotic situation, naturally, there's worse to come.

Homoeros - 257f_Tyler_behind_bars_08

 The guard in these scenes is very nicely modelled and posed - and clothed! His lean physique and half-hidden face creates a more sinister type of bully than conventional, bigger and more brutish stereotypes, like the man we saw in the first picture. It makes you fear for Tyler.

Bringing human bodies together as intimately as this is another technical challenge in rendering that makes me happy to stick to pencil drawing. However, this artist has produced an extraordinary result in which Tyler's ass appears to be nestling inside the guard's open trousers.
Quite fantastical but very sexy.

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Elsewhere, 'Miles' fate is even more painful as a cop whips his naked back to punish his insolence. Like Tyler, his youthful looks don't seem to warrant such severe punishment being inflicted on him. There's an earlier image in this series where Miles has been 'brought in' for questioning and sits at a table in the interview room, naked and alone, pondering what he has done and what is going to happen to him (Miles 03). It's a simple image but full of pathos. He can hardly imagine that this sort of brutality awaits him.

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The workplace can be equally dangerous for the unwary blond in the domains of Homoeros. If you recall the 'fashionista' apprentice in part 2 of this series you'll get an idea of what has led to this scene. It's a different young building apprentice here but one equally in need of further life education.
I'm not sure what his two finger salute is indicating but suspect it's probably rude.

Brahm on the left is a bit of a hunk but, as a mentor, not long on patience. Accordingly he includes a purpose-made spanking paddle in his equipment to cater for such eventualities. Even allowing for the distortion of perspective it's proportions are alarming. Aerodynamics and wind resistance will probably mitigate it's impact on those succulent buns, but it's already making it's mark.

Spankings do not feature overmuch in this artist's work but this is a good example of the genre. You'll be glad to know there are some happy endings at the end of this particular encounter.

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In some lines of work a degree of unpleasantness is not just an added extra but part of the job description. This 'model' is referred to only as '244' by Homoeros, purely for practical reasons I have no doubt, but it imparts a chilling casualness to his various fates of being imprisoned, groped by a business man and after brief spell working in a carpet retailer (in the souk) being consigned to a harem where he is obliged to provide pleasure to both mistress and (above) the slave master.

We previously met 244 in a dungeon setting from which you might infer that his Harem skills were not deemed entirely satisfactory in the end - or perhaps he was too willing to give his all to others. Homoeros cloaks his nether regions in shadow in this image but you can still see evidence of willing collaboration despite the ropes around his wrists - or perhaps because of them! In this accomplished image Homoeros creates a most convincing coming together of the two characters.

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 He repeats that trick here where two young men are being inducted into the dark world of S&M. They have been forced to torture each other, taking it in turns to be the top, and now must have sex together. The presence of a leather-clad M/C here giving them instruction gives the scene it's twist of kinky domination, but it's a pretty good sex image anyway with the receiver actively offering himself up in a physically strenuous position and the artist's customary floppy style of dick creating just the right ambiguous pleasure effect. (You may recall Riccardo in a different fix in Part 3)

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Given Homoeros fascination with controlling and directing his creations it's not surprising that he depicts scenarios involving ambitious models, whose pursuit of fame makes them most malleable and obliging. They get put though their paces by photographers with seedy and sometimes malign objectives. In Fred and Max, the young model is persuaded to go beyond posing in underwear and introduced to an older mentor for a naked wrestling routine which extends into places the poor lad didn't know he had.

Fisting images don't usually come like this. Stripped of the leather usual leather paraphernalia, tattoos and body jewellery, the characters are just like ordinary men and the dark erotic tension of their experimentation/seduction/domination is allowed to surface.
The two facial expressions say it all.

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In the the culmination of the Fred and Max encounter the hapless model is locked into this amazing, sci-fi, spreader restraint. This leggy blond is a very suitable subject for such a device and the 'spread 'em wide' policy certainly meets with my approval. It seems to pay tribute to the extreme spreads depicted by 'Boomer' some years ago (an artist whom I must remember to add to this blog soon).

The presence of the photographer kneeling and carefully attending to the cock of the captive - who can only watch helplessly - gravitates the picture towards the strange uncertainty of medical scenarios. It turns out he's only decorating the model's cock shaft with paint or a tattoo and the main job of the glorious mounting frame is simply to keep the boy's equipment firm and steady while he does so. Notice how the model's recently ravaged ass seems to sit in a recess at the hub of the arms, creating a similar erotic enclosure effect to Tyler's ass being drawn into the Policeman's trousers (above).

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Strange how being tied to a chair in a darkened room conjures up far more associations of danger than the most complex of technical restraint devices. The captor standing behind his gagged victim, holding him steady, makes it even more menacing. There's a pair of medical forceps already dangling from the captive's nipple but it looks like a pair of scissors is up next. He sits bolt upright, his body seemingly tense with anticipation. Is it to be an impromptu haircut or something else .......?

This seemingly simple image is actually quite remarkable,
something of a tour de force by Homoeros.

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As these punishment scenes develop, Homoeros begins to suggest a strange bond between captor and captive where the punisher has strange feelings for his victim, sympathetic even. In this case extending a consoling arm even as he prepares to administer an even worse punishment with the whip. His face shows sorrow but also seems quite implacable, as though he is discharging a duty which cannot be avoided.

The use of nipple-crushing, medical forceps by a jeans-clad master doesn't seem too surprising these days, it's become standard S&M equipment, but the stethescope dangling from his neck is something else. It sets up a most sinister possibility - that this master is medically trained and that he intends to use that knowledge to take his victim to the brink. His mundane clothing, like that of a labourer or workman, and the bare, office-like surroundings means there is no sense of ritual or play in this encounter, it's a casual, everyday type of brutality without obvious purpose.

Homoeros floods his pictures with light and colour but it feels as though he is ushering us into a very dark place -which we shall explore further in Part 5.

Read this series from Part 1

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