Crucifixion of a Surfer

Sporting Losers - No 4 The Surfer

Mitchell SK05 - No Surfing Today

"The lifeguard down at Crucifix Beach is strange cove.

He takes a dim view of what he calls 'inappropriate beach attire', preferring his boys to wear baggy shorts. He especially hates skimpy briefs, describing them, somewhat enigmatically, as 'loin cloths' but I won't repeat what he calls the guys who wear them. 
 

He's a real disciplinarian too, he won't take any back-chat from the surfers and when the red flag is up he expects them to get out of the water and stay out. 
 

He has a vast repertoire of biblical guidance and warnings for young men who transgress. Even so none of the regulars were quite ready for what befell Sexy Simon the day he broke all the rules - with his usual panache."

~

This picture and story was originally posted in my 'Sporting Losers Series' 

which is now available in full at my Story Archive. View Mitchell's Sporting Losers.

The image owes something to Player's memorable surfer crucifixion but I have just realised that there's an even greater resemblance to a crucifixion drawing by Okawa although I didn't intentionally copy it, as far as I recall.

The significant ingredient mine and Okawa's have in common is the 'mini-wedge' between the legs, the looser restraint arrangement in my picture gives this unpleasant device fuller rein to torment the uncomfortable captive as his legs tire of lifting himself clear. I've added these two images to my collection on this subject 

(click on the 'riding the wedge' label at the foot of this post for more).

~

The Madahv picture of a man on the cross in my last post was the first time I have featured that artist here, but it's not the first time I have looked at crucifixion. By coincidence I have just revised a post for the letter 'C' in my A-Z of Fetish Artists featuring (among others) the artist Cyrano who specialises in this subject. Looking back I was surprised to find about a dozen other posts featuring imagery of the ordeal including my own collaboration with Hardman 'After The Storm'.
I have now introduced a 'crucified' label to make it easier to find them all (see foot of post).

Vintage Bondage - Mark Nixon

Mark Nixon (by WPG)

This image of Mark Nixon by WPG has many of the bondage shortcomings I mentioned in my last post  - loose ropes which are not really tied and a fairly relaxed model - but it has it's compensations.

The hands over head and feet together pose really shows off the model's lean physique and long, long legs.  This also constitutes a seriously vulnerable position when in bondage, particularly when coupled with his near nudity and the open air setting. It closely resembles the classical images of St Sebastian and hints of serious danger to that beautiful body.

 

.......but who wouldn't want to tie up such a cute young man?

Two more pictures from the same set which are rather less exciting but I like the hands behind pose on the right. The raised leg trick does nothing for the fetish atmosphere but it does allow his total nudity and you can imagine tying his ankles together yourself. The model's slightly worried look in this picture adds greatly to it's impact. You might think he's seen an archer approaching, but more probably he's concerned about losing his posing pouch! The controversial garment in these pictures is slightly better fitting than those in the last post and fits into the pseudo-classical theme more naturally than the motorcycle scenario seen there.

Mark Nixon caught in the Net

 

 This rear view is another classic male nude pose and shows Mark's well developed upper torso to good effect, the glimpse of his bottom cleavage presumably being acceptable. The net is another regular beefcake accessory, suggestive of fishermen and gladiators ensnaring their quarry. Draping it over the model's lower body creates something of a merman effect for classicists - and a suggestion of captivity for those with baser interests.

 

Mark Nixon Repentant

A powerful study of subservience with a hint of  bondage, but not a rope in sight.

The 60's prudes would find it hard to criticise this image.

This model was blessed with an understated muscularity and slender proportions

 which are a good match for his boyish face.

WPG stands for Western Photography Guild. 

Like AMG (Athletic Model Guild) they adopted the Medieval term for a skilled trade association in order to impart respectability to their brand. Sunny outdoor images were WPG's speciality and this lighting (with the help of some oil) made the most of the model's muscularity and suggested health and vitality. They stuck quite closely to semi-classical studies but there's a stirring undercurrent of eroticism that is pleasurable but also frustrating, since it always goes unfulfilled (although you will find naked, frontal images of this model elsewhere if you search). The much reviled posing pouch, symbolically emphasising what it conceals, is actually a key ingredient in creating this feeling of sexual anticipation. WPG's 'duos' showing two gleaming male bodies intertwined in various pseudo-wrestling positions demonstrate an amazing capacity to suggest sweaty, erotic struggle while remaining strictly decent. This conservative approach no doubt allowed them to recruit body-builders who would not have touched more smutty stuff.

A-Z of Fetish Artists - Tom of Finland - 5

The Sinister Tom of Finland

 

'The Rope' - A Cop Is Coming

Before leaving Kake I would give a mention to 'The Rope' which though not officially part of the series has many authentic ingredients – a woodland meeting, an authentic gay cruising ritual with the central character overpowered and tied up to become the passive centre piece of a mass orgy. It's spiced by the arrival of the dreaded Policeman, whose appearance immediately scares off all the other revellers, leaving their captive to his fate. 

'The Rope'  - Discovery

The familiar moment of fearful discovery follows. Fortunately this cop is keen to show off his endowment and have some of the hero's ass, the orgy resumes around them and ends in smiles all round. It's an optimistic, nicely balanced and consistently well drawn story that makes light of the inherent dangers of such cruising.

Forbes notion which I mentioned at the end of the Part 3 that “...there is nothing mean spirited or sinister about a Tom fantasy.” probably does apply to 'The Rope', but in general Kake depicts a world full of mean-spirited people, like the opportunist thief (Kake 2), the Police Officers who arbitrarily whip 'streakers' (Kake 3), a spurned woman who takes her revenge by reporting her former lover's homosexual activity to the police (Kake 6), a landowner who threatens a trespasser with a whip (Kake 21) and attacks him for making an indecent suggestion, a 'hero' who metes out a spanking and sexual assault for the offence of bending a photograph (Kake 23)

There's no shortage of the sinister either, we have a hijacker (Kake 8), several men who force frightened victims into sex at the point of a gun (Kake8, Kake15, Kake 23), an Army Officer who arrests and tortures a civilian for making approaches to his men (Kake 14) and several policemen who abuse their authority to satisfy their sexual urges (Kake 3,22) - and that's not even counting Kake's own, less than consensual, approach to sex with strangers, including 2 straight men (Kakes1, 26) and his use of sex as a punishment, or if you prefer, as a reprisal (Kakes 5, 23)

OK, it's all fantasy and fun and Tom usually covers his tracks with ambiguity and last minute smiles but these aren't biff-bash cartoons, there's a dark mind at work here, who thinks this sort of rough play is erotic and he's absolutely right. He taps into our guilty pleasure at seeing someone else get the stick for a change. 

The Bikers Captive (1963)

The sinister in Tom is not confined to the Kake series. This image from 1963 was published in the first Tom of Finland Retrospective with the bottom section containing the petrol can and matches cropped off. It may be that the dishy captive has simply been caught attempting to set fire to the biker's shed but I'm obviously not the only person who sees a more sinister narrative where the bikers are threatening a terrifying initiation/revenge of the sort later depicted so graphically by Sean.

The characterisation of the captive in this drawing is interesting. His white, sleeveless singlet is a rare garment in Tom's drawings. In that era it suggests conventional underwear and clean living to me, but is also associated with shirts-off manual labour, or it may be intended to signify a crude or slobbish, but very male personality. His hairy body, equally unusual for Tom, poses a similar dilemma. Is it the natural look of an uncorrupted, 'real' man or the unkemptness of a beast? Recall there are two villains in Kake who are depicted with hairy bodies, but they are not nearly as handsome as this chap. Your interpretation makes a big difference to the way you view this image.

Even more intriguing is his posing pouch. This is the uniform of the beefcake model of the time but would never normally be seen on a hairy body (too sexual) or outside of a studio for that matter. So is this a lad who secretly wears one and fantasises about being a model - or have the bikers dressed him that way to live out their own fantasies?

(Comments from readers welcome)

Whipped Prisoner (1973)

There are plenty of whipping scenes in Tom's work which most people detached from the world of S&M would consider sinister in it's own right. However, this victim from a 1973 sketch is unusually animated, indicating a very painful experience. In the final picture (which I don't wish to post here) Tom paired him with a torturer who is a German soldier kitted out in the full regalia of the wartime SS. This is Sinister with a capital 'S'. In the years following WWII the SS became synonymous with cruelty, torture and extermination and by this time the extent of their excesses was universally understood.

I'm prepared to allow Tom the benefit of the doubt about Fascism since I've never seen any evidence of it either in his work or the accounts of his life, but he does seem to have been fascinated with authoritarianism in uniform and I am certain that he knew exactly what he was doing in creating this image. It would shock most people (just as an IS atrocity does today), but as we've seen Tom didn't mind being provocative and often paid scant regard to notions of propriety or political correctness. However, in it's time this imagery conveyed forcefully the desperate plight of the prisoner – which was Tom's main purpose. This is a picture about pain and danger. There are plenty of artists around today who use Middle Eastern imagery to similar effect.

see also my historical note on this subject

The Harshest Cut (1978)

This image from 1978 is also capable of no other interpretation than sinister. Significantly, in the final, published version, the droplets of sweat signifying the terror of the victim are absent and the cruel set of the captor's mouth loses some of it's venom. You can see a lot of serious emotion went into creating this sketch but it's actually not about mutilation, it's not primarily about sex either – the knifeman is fully dressed. It's actually a depiction of fear and what it feels like to be deeply threatened. It's a theme that recurs over and over again in Tom's work, but usually less graphically than these last two works. Check out the other pictures in this article as examples. This is also why I highlighted the subtle but equally sinister, mock-lynching sub-narrative in 'Kake in the Wild West'.

Notice how Tom has drawn this picture in such a way that he can easily substitute a cock for the knife if publishing preferences require it. It's a good example of his pragmatic flexibility and also his thoughtful approach to composition, honed to perfection by years of having to disguise eager cocks in more prosaic situations. Coupled with the censorship story of the biker picture (above), it also makes you wonder what other pictures may have been sanitised for public consumption

 - and how.

 

Cowboys with Farm Implement

At first sight this is an odd, unexciting picture, a simple ranch scene showcasing some nice, erotic figure drawing, but the characters seem uninvolved and disconnected, which is unusual for Tom. The half hidden rope adds a little frisson of bondage potential, but the three pronged pitch fork to one side seems like a gratuitous bit of added 'colour'. However, if you observe the angling of the fork when transferred to the cowboy's outstretched hand, the picture assumes truly sinister dimensions putting the mound between the reclining man's legs in no less peril than the cabin captive's tackle in the picture above (which was drawn just one year earlier).

This one is all in the mind.

Notice again how the incriminating implement can easily be cropped out to avoid giving offence, the blank space bottom left is equally intriguing!

Woodland  Punishment Ritual

This is slightly different but one of my favourite Tom images, showing two men with their cocks strapped together and being belted by a gang of leathermen. Tom depicted a number of woodland beatings like this but usually the victim is solo and it's clear from his boots etc that he is part of the club and we are witnessing an initiation ritual or disciplinary event.

These two are totally naked and are not obviously bikers at all, one is strikingly handsome and long limbed and this uncertainty over their identity and relationship, if any, to the gang immediately introduces something of a sinister flavour. Their joint punishment with it's sexual element raises further questions – are they buddies, lovers, strangers? Novices, troublemakers, or innocent passers by at the wrong time? All in all it's a potent brew.

This is 1977, well after the Hell's Angels heyday, but Tom's biker gangs with their militaristic, leather uniforms and muscular torsos still look threatening and dangerous, particularly in the isolated woodland setting. There is always an element of doubt about them in terms of intent and limits. Tom underlines this by emphasising the severity of the beating with impact symbols in the manner of comic strips. One of the beauties of the picture is the stoic attempts of the victims to maintain manly composure under this fierce assault, which one imagines is going to continue until they both produce a suitable sexual response. There's a finely judged element of cruelty here.

Forbes 'defence' of Tom is untrue but understandable, Tom was still alive and looking over his shoulder when he wrote it. But that's not to imply that Tom was mean-spirited or sinister. His biographers reveal very little of Tom's real character, a modest man with a drink problem, but the Kake stories suggest a bluff, hearty man, totally unreconstructed, who's been through the mill and certainly hasn't forgotten those lessons (and simply 'moved on' as modern attitudes would have it),

but who has learned to laugh at life, through his work at least, while retaining a streak of gleeful maliciousness against those who wronged him. 

These 'sinister' images give us a glimpse of the depth of those feelings.

To be continued in Part 6

Links to previous articles: Part 1 , Part 2, Part 3 , Part 4

For other artists in the A-Z series click on the label below or search by name.

A-Z of Fetish Artists - Tagame (Part 1)

 Tagame is a modern giant of the fetish genre, he is both provocative and prolific. For the art reviewer, the amount of material is massive, his comic book stories are often huge works running into hundreds of pages with perhaps 6 illustrations per page. I cannot hope to do justice to it all, just give a flavour of that which I admire about him.

The Viking and The Ogre (from Oeyama-Kitan)

Anyone wishing to get to know Tagame's work faces a few obstacles. His stories are written in Japanese and typically contain page after page of scene-setting dialogue which is baffling for the average Westerner. English (and other) translations do exist (see above) but they are often awkward, peppered with strange transatlantic and colloquial expressions and generally lacking the style and subtlety to bring out the true flavours of the original Japanese text. The randomly selected example above illustrates the gulf in language. (Remember to read the pictures from right to left on each line). This Tagame is unexpectedly romantic, but the image shows his graphic skills nicely, there's an intriguing touch of Yaoi style about it too. 

His First Body Harness (from Pride Vol 1)

The sheer scale of his works coupled with the language issues often leads to dismemberment of the stories and circulation of 'best bits' (bleeding chunks, as they say in the classical music field) without any context. Despite these issues, it's worth seeking complete translations out as this allows some context to be applied to the more spectacular images and can reveal otherwise 'hidden' gems in the scene setting, like this episode from 'Pride', where a student discovers that the tight, rope, body harness, (which he has been told to wear under his clothing by his mentor as an initiation test), is not mere decoration, it subsequently hampers everything he does during the day - threatening to expose his secret to his friends. Sadly it seems that the sound-effects defy translation – a bit of creaking rope perhaps? I admire the skilfully drawn faces in these frames.

Cover from Jujitsu Kyoshi

Many of Tagame's principal characters are beguilingly western in appearance, often with chunky builds and prominent black eyebrows and moustache's, they almost look like the stereotypical Latin American macho male. However there is no mistaking the Japanese settings and clothing and his work is full of Japanese cultural references, such as the loin cloth (fundoshi) in the picture above, much of whose cultural (and erotic) significance is probably lost on Westerners. Many of Tagame's coloured 'stand alone' images like this actually belong with specific stories and depict the characters or incidents in a more polished form than is possible within the comic book style.

Exposed Captive from Jujitsu Kyoshi

This splendid picture of a captive tethered outside in freezing weather as a punishment echoes similar images by Okawa (here). Tagame styles his image in the same traditional Japanese fashion. Notice the delicate snow detail on the top of the stake and his hair. The fast flowing, freezing river has already soaked the victim's loincloth and is gradually washing it away - and his modesty with it. It's a subtly-drawn embellishment which gives extra erotic punch. 

 I presume this imagery has it's roots in Japanese lore or literature and I have an idea that this is a punishment normally reserved for servants. However, I lack the knowledge to fully understand the allusion. The picture comes from the volume, 'Jujitsu Kyoshi', a story of an martial arts instructor who offends against family morality and is punished. This scene does not appear in the story itself, but it could do and works as an embellishment for the reader to fantasise about. 

Scene from Kodama (Cabin in the Woods)

The final obstacle to mention, well it's more of an irritation really, is the Japanese censorship code which obscures sexual detail to a greater or lesser extent. I've tried to avoid including them in this article as far as possible. The example above (bottom right frame) at least gives the reader the option of providing his own! Sometimes a speech bubble blocks the offending area completely. As you would expect the artists are skilled at circumventing the restrictions and if you look top right, you will see a very explicit image indeed which has got through in disguised form.

Kodama (which this page comes from) features a gangster on the run. After an initial confrontation, his life is saved by the owner of the Cabin who then offers him a refuge – of sorts! This raunchy scene from the story is actually preceded by a toe-curling humiliation and in the next article I will look at Tagame's challenging content in more detail.

Part 2 continues here

For previous articles in this 'mitchmen' series click on the A-Z label below

Bush and Quaintance entwined

I thought it would be interesting to show these pictures by Harry Bush and Quaintance alongside each other, both with Tarzan-ish themes, but more strikingly because they both employ 'vine restraints'.

Quaintance - 'Bacchant' (L), Harry Bush - 'Tarzan Finds Boy' (R)

Bush of course was a near contempory of Quaintance and certainly knew about his work so it's not impossible he took this inspiration from him. The pictures demonstrate how even a single arm restrained above the head is a powerful erotic device and I can't help observing again how elegant these tendrils look compared with the tentacles much beloved of Yaoi artists.

Bush regarded himself as a true artist and the classical posing and polished technique reflects this. Superficially, in this picture, Tarzan steps forward to rescue an ensnared Jungle Boy, but that looks rather like lust in his eyes and he seems to be drawing Jungle Boy's free hand towards his own crotch rather than setting him free. Given the voluptuous buns peeking out from underneath Jungle Boy's loincloth, this desire is entirely understandable. Tarzan's own loincloth has been 'censored' but the outline is sufficient for practised cock-spotters. Harry Bush's 'hidden eroticism' is a little more subtle than some we have seen in recent posts.

There's interesting messages also in the whole language of this picture, placing youthful innocence into a scene of sexual desire together with notions of ensnarement, the wild jungle where civilised norms don't apply and the untamed man emerging from the undergrowth - and yet, the whole scene is a fake - a film set with role-playing actors. Make of it what you will, but there's no denying the genuine artistry at work here.

Bush Bikini Boys

Bush - Mini Bikini

Skimpy Bikinis with bold designs were a feature of many of Harry Bush's stylish drawings in the 60's. The mini bikini above attributes the style to London fashion - this was the 'swinging sixties' - but I doubt that you'd see clothes like this (or men like this!) on any British beach in that era.

Bush - Tigers

Bush's pictures show them being worn by a handsome, young adonis who wants to show off his assets and torment and exploit older men, less gifted by nature, who happened to pass by.

             
Bush - Surfer and VW(left), Malibu or Bust (right)

 I always assumed there was a lot of artistic licence in the flamboyant designs especially the polka dots used to stunning effect on these passing motorists, surely no-one wore these!

However, I recently discovered. this interesting photo showing two guys wearing identical side-knotted polka dot bikinis. It's from the 50's according to the title, quite daring I would have thought for that time. Two on the same beach seems quite a coincidence, perhaps this was Life imitating Art, two Harry Bush fans paying tribute. Who knows?

See more in my A-Z article on Harry Bush

Luke In The Can

Mitchell - Luke in the Can

A picture destined for a series called 'The Lost Patrol'.
This is intended to be a major story and has been taking shape in my mind for many years, but so far I've only finished a few drawings with rather more sketches. Here we see Luke, one of the members of the patrol, being punished. He's locked inside a small metal cell, exposed to the searing heat of the sun.

Mitchell's A-Z of Fetish Artists - Okawa

I cannot talk about Okawa's art without observing that it is unmistakeably Japanese. The delicacy of style and colouring has some kinship to modern day Kimura, but unlike that artist there is absolutely no westernisation of the faces, or the clothing (Okawa often uses traditional loincloths and headbands) or the settings, which feature pine trees and even cherry blossom!

Okawa 031 Snowbound (N.B. all titles are mine)

From a fetish point of view the most interesting manifestation of these influences are the pictures where the captive is left outside exposed to the elements - rain, snow, the sea etc. I can't think of any other artist who has explored this theme so interestingly. Of course depicting water in it's various forms presents technical challenges but Okawa acquits himself well. 

Okawa 04 Shipbound

There is one exception to the 'Westernisation' discussion , at one point in his career Okawa seems to have been influenced by Tom of Finland whose bikers in leather jackets (above) and tight jeans with turn-ups start to appear in the supporting cast. Okawa captives are transplanted into Tom-like settings and even the drawing style echoes Tom. I'm cautious about the authenticity of these drawings but it's an interesting group.

Okawa 51L Treetied

Generally speaking Okawa's captives are not naked, in accordance with the mores of the time, but he usually skillfully fills the boy's loincloths with erotic bulges, sometimes accentuated and enhanced by carefully placed bindings (see other pictures in this article). 

The example of frontal nudity above is almost unique in my collection (a few other images I have appear to have been censored) and the stretched, beautifully depicted genitals show what we have missed out on. The suspended victim and his beating with a stave are typical Okawa themes and leave us wondering if this is austere family discipline, military - or something more sinister. Okawa doesn't shrink from violence and some pictures show the bloody aftermath, but it's not gory.

Many of his young men (as here) are characterised with soft, slightly fleshy, almost feminine faces and while this is absolutely authentic, for me personally it is less erotically appealing than, say, Hasegawa's leaner look or Tagame's brutal looking protagonists, which stand at the other end of the facial spectrum. In this picture the cropped hair helps and I must admit, that I do like fleshiness in the body styling. I shouldn't leave this picture without pointing out the graceful leg lines and well-drawn feet.

Okawa 05b Crucified

The same characteristics can be seen in the 'crucifixion' image. In this picture the skillful use of lighting and perspective stand out, but don't miss the complex rope patterns and securing nuts which are clearly and convincingly captured. I love the hairy legs too. The triangular wedge between the victims legs is perhaps an over-enthusiastic elaboration. It produces a nice division of the testicles but I suspect the victim is too well supported to feel it's full divisive effect.

Okawa 31L - Tied and Beaten

At the end of the day Okawa is a bondage artist and the final image exemplifies this. Even today, in an era awash with male bondage imagery, it is simply stunning in it's quality, beauty and impact. The rope tethering the victim to a nearby tree or post greatly increases the psychological effect.

Okawa is one of the great fetish artists.

There's a decent selection of Okawa's work at Japanese Gay Art (Mar 2018)
I believe there are books available and Google will throw up more examples.

For more articles in this series click on the A-Z label below.

Naive Models Series - Tarzan-gram

Mitchell 628 - Tarzangram

In the opening tale of my new series 'Naive Models', a student trying to earn extra money as a Tarzan stripper-gram falls into the hands of visiting game hunters from Africa and unaccountably disappears.
More at my mitchmen Yahoo! group (see sidebar)

Mitchell's A-Z of Fetish Artists - Mentaiko

Mentaiko - Captive

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I have admitted before, my own shortcomings when it comes to identifying Japanese cartoon artists. It doesn't help that their work often circulates unlabelled but I have never taken time to understand the subject better. However, their contribution to fetish art is so significant that I must mention them when I can.

Mentaiko's work has a pleasing, erotic plasticity in the crucial body areas, I love the shiny buttocks and bulging white loincloth of this captive although the rubbery texturing doesn't work quite so well on his ripped clothing. It's the bondage of course that makes this picture so sexy, the awkward and exposed position and the realistic, strong-looking ropes that snake round his contours. The creasing of the twisted white cloth as it passes between his buttocks is delightfully suggestive. The youth of the subject and, to a lesser extent the fantasy scenario is not really my cup of tea (though it's pretty uncontroversial in this case) but the erotic quality of the artwork is remarkable.

This type of art appears on GMBA (link at foot of sidebar) fairly regularly, but it's usually unattributed. There are plenty of Yaoi groups who specialise in this art and that is a good place to look for more information.

To see earlier posts in this series click A-Z in the label list below

Mitchell's A-Z of Fetish Artists - Marquis

Marquis - Indian

Marquis produced some striking bondage images in the 90's. He has an instantly recognisable, softly pencilled style which is almost academic in nature. His subjects typically have slender arching bodies with major muscle groups well defined somewhat in the style of an anatomical drawing. Their faces have a slightly Asiatic flavour, with pronounced cheek bones and chins, dark eyes and fleshy lips.

Marquis - 'Fence' series

These men are shown tied to posts, gates, saddles etc., struggling with their bonds or turning away from an unseen attacker, their heads flung back. The single figure compositions lend themselves to elegant images and Marquis has an eye for positions which are satisfying both erotically and artistically. The viewer is invited to linger and examine the helpless captive before him, to fantasise about what might be done to him.

Marquis - 'Nightstick' series

The nightstick picture shows how Marquis' approach to drawing which is based on building up the structure of the body rather than observing it's overall shape gets him into trouble with angled heads. It also leads him to include fine detail like lines between teeth for example and the knobbly bits of fingers which are normally not noticeable. However, this picture has another sort of cleverness about it - count the hands! This image can be related to other work by Marquis which links his bondage images to more self-consciously arty imagery like picture frames, Greek urns - and multi-armed Asian gods.

Marquis' work does not have the sensuality, earthiness or drama that the most successful fetish artists achieve but his best images have an artistic beauty which will always secure him a place in the hall of fame.

Marquis now (Jan 2013) has his own blog at marquisbdsm.tumblr.com 

The other place to look for his work is at the GMBA archives (latest link in sidebar)

To see earlier posts in this series click A-Z in the label list below

Leather Sex Appeal - 13

Francois Sagat demonstrates how to wear leather harness and jock,
 i.e. tight enough so the straps disappear between mounds of flesh in interesting places.
.

Judging by his sometimes bizarre modelling assignments,
Francois must be an 'interesting' person as well as being sexy (see Francois Sagat blog ).
Personally I'm happy looking at the mounds.
~

Picture courtesy of TitanMen, link is on the picture
~ 

Mitchell's Illustrated Leather Tale "The Legend of The Path Of Pain"
is now at the mitchmen archive - see Gallery Hub tab for free membership.