Homoeros often features women as aggressive seducers and dominators in his pictures. It's an interesting aspect of his work and if you're able to tolerate their presence, the tormenting of (mostly) straight men is quite entertaining and sometimes most sinister.
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| Homoeros - 170d5_evandro_slave_auction_07 |
In this example Evandro, who we saw as a confused Squash player in Part 1, is persuaded to enter a slave auction in furtherance of his modelling career. Homoeros dreams up an impressive and appropriate outfit for him to wear, complete with matching shackles. It's shiny and glamorous but dripping with implications of enslavement and there's a hint of forced chastity in the metallic briefs.
Apologies to those who detest the female form but I think the scenario works well here with the 'purchaser' turning out to be a vicious, Disney-esq dominatrix and delivering an experience Evandro scarcely can have expected.Although he's clearly finding it testing, it seems he must be taking it willingly, since he is not actually restrained by his shackles. The generous pouch in his pants implies he might even be enjoying it, deep down. His facial expression is well depicted, you can tell that his ability to endure pain is being tested. This is a rather beautiful evocation of a very basic bondage/domination fantasy.
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| Homoeros - adam___eve_02 |
An age-old story being re-enacted down on the farm, with female stereotyping which I suppose is politically incorrect these days. To be fair, the farm boy is equally stereotyped (as a dumb male) by his puzzled reaction (as if!). He's objectified as well by his stunningly low cut jeans, which would be far more effective than a bunch of apples for most of my readers. This is not the first biblical allusion we've come across in Homoeros work. I'm not sure what conclusion to draw from that but it makes me uneasy.
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| Homoeros - 146a3_newsroom_03_ |
A more modern temptation. A TV announcer is persuaded to strip down to his rather swanky underwear. His expression seems to indicate a degree of doubt about the wisdom of it all, maybe he's just twigged that the chequerboard pattern on his briefs simultaneously shows the shape of his assets and draws attention to them.
The artist seems to be casting the woman as a manipulator here, but it's not very hard to get most men to do this, any good cause will usually do the trick or just a playful challenge even. At one time such a very public display would have been shameful and humiliating for the man, but these days it's just a test of bravado. That doesn't mean it's not manipulation going on, however, and in this case we can enjoy his evident unease about it all.
In the days of sail it was supposedly considered unlucky to have women on board, maybe this proves the point. This is a good treatment of the subject with convincing poses and whip action. The clothing contrast adds an erotic frisson. It also subdues her femininity to a degree and Homeros depicts her as a man's equal in having the ability to administer a serious lashing. The privileged status of such a woman would make her someone to be feared amongst the rough crewmen.
There's an all male equivalent of this scene in Part 5, called Ship's Lookout. In that series, the cute whip-man seems to agonise about punishing the seaman who neglected his duties. The Captain's Daughter however taunts her victim as though flaunting her power. It seems to implying a more personal motive, but it's a slightly dubious characterisation.
Historical and fantasy settings give Homoeros full rein to explore female dominance over men. This Amazon-like portrayal of the woman grants a power of position to her in much the same way as the Captain's Daughter and here it's coupled with (what I assume is) an irresistible sexuality. The captive man in this image is a very nice creation with a naturalistic body that's slightly hairy (yum!) and a darkly handsome face that isn't the artist's usual style.
The simple bondage appeals to me, the arms are pulled tightly back, his strength neutralised by a simple length of rope. He's clearly facing a threat to his life or something else equally dear to him, looking pretty forlorn even though the woman is affectionately stroking his face. This image isn't part of a coherent set but associated images seem to imply a scenario about reluctant lovers. I think we're getting a pattern here.
We saw Max the slave suffering the ultimate price for intimacy with his master's daughter in Part 6 but here he is looking sweeter than ever, in the hands of an older, rather mean-looking woman. She looks like a figure from antiquity but the reclining framework on which the naked Max is attractively spread would not look out of place in a modern gymnasium, so I guess we're not in Ancient Rome any more.
These anachronisms won't be of much interest to Max. You can only describe the look on his face as apprehensive as short but substantial whip is waved under his nose. Despite that the lower part of his body seems to be signalling other feelings at play.
The woman subjects Max to a ferocious frontal assault which bloodies him but doesn't seem to dampen his ardour very much. This image gives us a vivid impression of the attack and of Max's totally defenceless state, made all the more acute by the way his limbs are pulled back by the shiny, restraining bars. You don't see frontal punishment very often in man-on-man situations, possibly because it seems so much more vicious and dangerous to manhood than lashing the back. This attacker has no such qualms. In the end she uses Max's tool for her pleasure, but there's a spell on a (modern) Butt Pumping Machine in between, maybe that's needed to get him going again.
I don't know what the title refers to in this quite recent work from Homoeros, unless it's his name for the restraining frame. This ingenious device, by virtue of it's inclined support pad, offers the target's body at an optimum angle for a standing attacker and simultaneously deprives the captive of any point of leverage to avoid the blows or attempt an escape.
If these portrayals seem to cast women in a negative light, this one seems more sympathetic at first sight. A pregnant woman looks up at a man on the cross. It's not clear whether his 'crime' relates to her pregnancy, but she seems quite content with her state and I think we can conclude that he is the father. Surprisingly though, her sober look seems to disguise the faintest of smiles, as though she's not unhappy about where he has ended up. Job done, not needed any more?
The artist seems to be casting the woman as a manipulator here, but it's not very hard to get most men to do this, any good cause will usually do the trick or just a playful challenge even. At one time such a very public display would have been shameful and humiliating for the man, but these days it's just a test of bravado. That doesn't mean it's not manipulation going on, however, and in this case we can enjoy his evident unease about it all.
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| Homoeros - 350a_chase_and_sammy_17 |
'Chase and Sammy' revisits the manipulated model scenario. Chase is taken to a dilapidated factory for a modelling assignment and is snapped communing nakedly with some butch, engineering equipment. He's then talked into some captivity poses, no doubt with some flattery about his heroic muscles. Men eh? But you can see she's not wrong about his look, the photos will be great. Despite his bondage, Chase's masculine presence in this image gives him a visually dominant role, making him seem all the more desirable and fleetingly subverting the normal order of photographers in charge and controlling their models.
Unfortunately Chase's stunning manhood has kindled baser desires in Sammy's breast and once the photo-shoot is completed she proceeds to help herself to what he's got. He is horrified by this attention, but we don't know if his reticence is because he's gay, shy or simply choosy. Whichever is the case, he seems to be able to do enough to satisfy his attacker, no doubt hoping that that will suffice and be the end of it. Restrained and helpless in a deserted building, he tries not to think about what happened in 'Misery'.
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| Homoeros - Bedroom_11 |
This one is a bit of an oddity. The male in this story has a distinctly gay aura about him at the outset. He poses in matching, skin-tight singlet and shorts in bright rainbow colours and there's even a hint of accentuating make up on his face. He's boyish and coy about stripping off, but has just got down to his shorts when the woman appears wearing nothing but a skimpy thong. This sight terrifies him.
At this point you are wondering, is he gay or just shy and inexperienced? As the scene proceeds the woman takes charge with a brazen combination of feminine allure and assertiveness and his masculine/heterosexual credentials start to become apparent. She cajoles him into flexing his biceps and even gets him to submit to the lash of a riding crop. His upturned ass turns out to be unexpectedly hairy.
He ends up tied to the bed and Homoeros (above) manages to capture the sense of him being petrified and uncertain, but aroused and excited at the same time. There's a powerful feminine presence in this image and the man restrained, spreadeagled on a very comfortable (and stylish) bed and looking very unsure of himself seems like a very feminine fantasy to me too. That impression carries through to the ending of the storyline where he is released and the couple enjoy affectionate sex.
Conversion therapy? Maybe, but I'll pass on that one.
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| Homoeros - 370c_ronnie_gets_spanked_01 |
Remember Ronnie? We first saw him flaunting his jockstrap in the College locker room (Part 1) and it looks like he's still got naughty boy tendencies (from a female point of view anyway). He's fallen into the clutches of a particularly intimidating dominatrix here, with man-ish hair but fairly conventional female taste in punishment for men. We previously saw a giant paddle just like this in Part 4, in the hands of a spunky builder. It would be nice to imagine him stomping in on this scene to reclaim his equipment and acquaint Ronnie with it's proper use. This training is all really good preparation for Ronnie, as he's destined to end up in a dungeon with a sadistic (male) lover , see (Part 5).
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| Homoeros - Captain_s_Daughter_04 |
There's an all male equivalent of this scene in Part 5, called Ship's Lookout. In that series, the cute whip-man seems to agonise about punishing the seaman who neglected his duties. The Captain's Daughter however taunts her victim as though flaunting her power. It seems to implying a more personal motive, but it's a slightly dubious characterisation.
 |
| Homoeros - captive01 |
Historical and fantasy settings give Homoeros full rein to explore female dominance over men. This Amazon-like portrayal of the woman grants a power of position to her in much the same way as the Captain's Daughter and here it's coupled with (what I assume is) an irresistible sexuality. The captive man in this image is a very nice creation with a naturalistic body that's slightly hairy (yum!) and a darkly handsome face that isn't the artist's usual style.
The simple bondage appeals to me, the arms are pulled tightly back, his strength neutralised by a simple length of rope. He's clearly facing a threat to his life or something else equally dear to him, looking pretty forlorn even though the woman is affectionately stroking his face. This image isn't part of a coherent set but associated images seem to imply a scenario about reluctant lovers. I think we're getting a pattern here.
 |
| Homoeros - 448m_max_ii_exhibitor_03 |
These anachronisms won't be of much interest to Max. You can only describe the look on his face as apprehensive as short but substantial whip is waved under his nose. Despite that the lower part of his body seems to be signalling other feelings at play.
 |
| Homoeros - 448m_max_ii_exhibitor_03 |
The woman subjects Max to a ferocious frontal assault which bloodies him but doesn't seem to dampen his ardour very much. This image gives us a vivid impression of the attack and of Max's totally defenceless state, made all the more acute by the way his limbs are pulled back by the shiny, restraining bars. You don't see frontal punishment very often in man-on-man situations, possibly because it seems so much more vicious and dangerous to manhood than lashing the back. This attacker has no such qualms. In the end she uses Max's tool for her pleasure, but there's a spell on a (modern) Butt Pumping Machine in between, maybe that's needed to get him going again.
I don't know what the title refers to in this quite recent work from Homoeros, unless it's his name for the restraining frame. This ingenious device, by virtue of it's inclined support pad, offers the target's body at an optimum angle for a standing attacker and simultaneously deprives the captive of any point of leverage to avoid the blows or attempt an escape.
 |
| Homoeros - 257d_crux_03 |
If these portrayals seem to cast women in a negative light, this one seems more sympathetic at first sight. A pregnant woman looks up at a man on the cross. It's not clear whether his 'crime' relates to her pregnancy, but she seems quite content with her state and I think we can conclude that he is the father. Surprisingly though, her sober look seems to disguise the faintest of smiles, as though she's not unhappy about where he has ended up. Job done, not needed any more?
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| Homoeros - 331_backstage_06 |
In 'Backstage' a naked man is confronted by 3 identical-looking women in what looks like a circus changing room. They come on to him, seducing him as a group, but in the middle of their sex-play he is attacked with a giant pin (above) which is followed up by another, driven through his other pec.
Homoeros captures the dramatic moment of penetration and the victim's shock at the unexpected assault. He's realising that he is surrounded by enemies and completely at their mercy. This image is infused with a sense of pathos. The diagonal positioning of the victim and his anguished upturned face echoes Renaissance paintings of martyrdom and that connection influences the way we see this victim.
There's no explanation offered for this incident. A pram-like object in the background at one point and a suggestion of lesbian tendencies between the girls may be clues to sexual misconduct on his part. Anyway, he ends up submitting to them, double-pin-cushioned and looking very sorry for himself. Many of these femdom images have a gay equivalent in Homoeros output. There's not a direct one for this as far as I know. The gang attack on swimmer Tommy whose aftermath I showed in Part 7 is close, but the sly, calculating cruelty of 'Backstage' sets it apart.
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| Homoeros - tonight___i_ll_release_you_tonight___my_beautiful |
This final image seems to epitomise an even more casual and calculating cruelty. Thank goodness it's just a fantasy! This male lover is enslaved by his own sexual desire or her position or simply by physical force and she takes advantage of it to attack him through his very manhood. I suppose it's teaching him a vivid lesson about chastity. The humiliation of being restrained in this way compounds the immediate pain and he has yet to discover the torment of standing all day in what looks like a bit of a sun-trap. This nailing punishment is not unknown in man on man S&M scenarios (e.g. RJ Blake, Dante) but I've never seen it portrayed in this way - as an act that not only demonstrates her power over him, is not just a punishment, but a strange, perverse act of love.
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I find it hard to assess these images. The female predators have no pull for me, erotic or otherwise, so I suspect I'm not able to fully 'get the message' in that respect but I can see that their presence creates a different narrative to the all male equivalent. They seem to be cast in a negative, manipulative and cruel light, but I'm not sure that differentiates them from men to be fair! I can't judge, but I do find the images Homoeros has produced interesting when viewed through the experience of the men.
Your comments are welcome!
Read this series from Part 1
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I find it hard to assess these images. The female predators have no pull for me, erotic or otherwise, so I suspect I'm not able to fully 'get the message' in that respect but I can see that their presence creates a different narrative to the all male equivalent. They seem to be cast in a negative, manipulative and cruel light, but I'm not sure that differentiates them from men to be fair! I can't judge, but I do find the images Homoeros has produced interesting when viewed through the experience of the men.
Your comments are welcome!
Read this series from Part 1
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