The Art of Homoeros - 8 Fem Dom

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.

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.

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.

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.

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'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'.

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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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).

Homoeros - Captain_s_Daughter_04

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.

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.

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 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.

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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.

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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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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.

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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Homoeros Gallery Pages

The Look of Conspiracy

Ethan Grant and Nick Moretti here are like sexual vultures circling the unsuspecting Ross Hurston, who's busily gorging himself on Ethan's meaty cock, unaware of the threat to his rear. Grant and Moretti silently exchange looks as their conspiracy to deflower him comes to fruition, celebrating the triumph of their plan with the faintest of smiles.

This picture was probably responsible for me starting 'The Look' series.
 I think Hurston and Grant both look particularly good in it.

This is 'Look' No 13, for others click on the label below

This scene is from the 2008 HotHouse video 'Masterpiece'. Their story is more mundane, a revolving gang bang in which it's Grant who seems to get the most rear attention. There are some good stills in the set. See more at Hothouse's Masterpiece including a video trailer 

Rhino

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Beautifully Bound - Rhino

Rhino by ExtremeBoyz

 

A supple body, bubbly butt and despairing bowed head. 

 

from the mitchmen article 'Rhino'

Little Known Incidents of WWII (No 5) Lovers Reunited (Gay Version)

Johnny and Tommy were lovers
 but in 1930's Britain, homosexuality was an imprisonable offence.

So,they had to hide their secret from everyone they knew.
.

They met an inexperienced young, gay man, called Eddie, and became friends.
Tommy and Eddie would often go out riding on their motorbikes......

1

Johnny knew Tommy was an inveterate cottage queen.
He trusted him to keep his hands off Eddie

but he thought it was too early to show him the places
 where the other gays went to meet up.

Eddie wasn't yet wise to the dangers there,
the Police raided the cottages regularly

and experience was vital to avoid being caught
and prosecuted.

2

Tommy was very quiet when he came back that night.

A week later Johnny heard that Eddie had been arrested 

Picked up at a cottage and charged with indecency

Facing public shame and prison, he had hanged himself in the cell that same night

3

When Johnny tackled Tommy about it, he admitted taking Eddie there 

Johnny was furious with him for not keeping Eddie safe

He couldn't control his anger and their relationship ended in acrimony
They went their separate ways.

~

Many years later,  after the war started, Tommy and Johnny met up again

By coincidence, they were assigned to the same tank unit in the Western Desert, 

Johnny, now a Sergeant, was in command.
 He was still angry with Tommy and they constantly had arguments.

4

Their little spats were like lover's quarrels and bewildered the other crewmen. 

 After just one mission, Johnny tried to get Tommy transferred to another unit.

5

Johnny didn't want to say too much,
 fearing that Tommy might reveal that they had once been lovers.

So they had to continue to work together but Johnny's resentment never slackened.
Some time later they were involved in a clash with the enemy and their tank was destroyed
To avoid being taken prisoner, the surviving crew had to trek across the desert.

It was a long journey in merciless heat.

Soon water had to be rationed but Tommy deteriorated quickly

Johnny did his best to help him..........

6

When he held Tommy in his arms the old feelings started to return

 Their trek to safety continued but it took it's toll on the crew.
Finally, only Johnny and Tommy were left alive and Tommy was very sick.

In a state of delirium one night, Tommy talked about what actually happened to Eddie,

7

It was an explanation that would not have been believed if he had offered it before. 

But now Johnny realised he had been wrong about his former lover all along.
He decided he should make it up with him when he regained consciousness.

But that very night, Tommy wandered off into the desert while Johnny slept.

Like Captain Oates, he reasoned Johnny had a better chance of reaching safety, 

if he was not burdened with a sick man.

When he woke and realised what had happened,
Johnny went out desperately looking for him but in vain.

He was finally found unconscious by a passing patrol.

In a Hospital bed for several weeks Johnny had a lot to think about.

About his foolish anger and mistaken assumptions. 

About his lack of trust and disloyalty to Tommy in not listening to him.
He realsied now that Tommy had never stopped loving him.

8

When he eventually returned to his unit he was healed in his body

But he frequently found himself looking out over the desert,

hoping to see Tommy come staggering towards him, still alive

or roaring in on his motorbike, laughing like he used to.

He grieved for him and all the lost years when they should have been together.

It felt like the future he was fighting for had now been taken from him.

But it was a sadness he could not reveal to anyone in his command.

They wouldn't understand about love between two men. He was totally alone.

~

I adapted this story from a War Comic saga (No 724) called 'Fight to Survive'. 
I reviewed this story in a previous post and discussed the artwork and the gay theme which seemed to simmer just under the surface. The same frames are presented here and the only changes I needed to make was to alter the cause of Eddie's death in frames 1 & 7. I changing it from crashing a defective motorbike to suicide after being arrested for gross indecency in a cottage (a public toilet). I made minor changes to other frames as well and filled out the accompanying narrative to suit my purpose, but they were not necessary to effect the conversion, such was the compatible tenor of the original story and it's artwork.

In conclusion I'd ask you to consider the title of this little epic.
 Obviously it fits any war scenario, but is remarkably apt for a gay storyline too.

You will probably spot that the cover art here was not produced by the same artist who did the inside images. There's no sense here of the dispute and fight between the two friends which drives the original story as well as my adaptation. Any trace of a gay connection has comprehensively vanished with it - unless you count the slightly camp behaviour of the foreground figure, making sure his helmet stays on as they flee! 
Hang on to your hats boys!

Go to Part 6 in this series 'Love Your Sarge'

Read from Part 1 

Little Known Incidents of WWII (No 5) - Friends Reunited

 

This is the closing frame of the story 'Fight To Survive' published by War Picture Library. It's a good example of the quality of some of the movie-like images produced for these series. The lone figure gazing out over the desert waste while his men relax and gossip about him makes a striking scene.  

The soldiers shown are 'Desert Rats' from the British 8th Army and in my youth I was in love with the lot of them, not least for their sexy attire for going into battle - rolled up sleeves and shorts that reveal chunky legs. There's a simmering sexuality even in this innocuous grouping that I still can't resist. The Sergeant's hinted-at relationship with 'Farren' is even more interesting, enough to get my Gaydar humming!

 

This frame explains the relationship between The Sergeant, Lister (centre) and Farren (left). The third man on the right is supposed to be Lister's younger brother, Eddie ('the kid'). We' can raise eyebrows about 'closest friends' but all seems perfectly straight here, in this era the dialogue is not going to say anything else anyway.

However the way this picture is drawn conveys a rather different impression. Eddie is supposed to be on his bike and raring to go, but the artist didn't have to represent him in this scene by just showing his jeans-clad bottom did he? Nor did he have to show his brother's hands apparently poised to rub said bottom with an oily rag - while his best friend seemingly holds the lads legs apart.
All just coincidence? Or is this a particularly audacious case of hidden eroticism?

Tommy Farren and Eddie roar off together showing their bottoms like Tom of Finland bikers.
Alas it's a ride from which Eddie will never return.

The characterisation of Lister here is quite deliberately sexy with hints of hair on chin and neck and his mechanic's overalls showing just enough chest to suggest he's wearing nothing underneath.
Notice though that his chest cleavage is censored.

Lister blames his friend, Tommy for Eddie's demise, 

because he had failed to fix a defective part on the lad's motorcycle. 

Manly fist fights are a regular feature of these stories just as they were in many dramatic TV programmes and films of the period. Usually in War Comics it's a feed for a morality plot line about the benefits army discipline and becoming mature, but in this story the confrontation shown here is a key part of the plot. 

This sideways-on depiction of a fight is unusual and slightly two dimensional, but it creates a nice picture with two powerful diagonals meshing together (Farren's body and Lister's arm). They combine with the horizontal lines in the fence to create an arrow-like shaping which seems to emphasise the force of Lister's punch. 

Fights have an intrinsic, homoerotic quality for many and gay sensibilities will appreciate Farren's backward-arching body line and the close proximity of Lister's elbow to his crotch (bottom right). This is a juxtaposition that wouldn't be visible in the more usual 3/4 viewpoint but I don't want over-state my case here by suggesting it's deliberate!.  

After their falling out, Farren and Lister go their separate ways and only meet up again many years later when they are assigned to the same tank unit, with the now-Sergeant Lister in command. Lister's hostility remains implacable and this image captures a spat between the two men which you might easily mistake for a lover's quarrel from the words. Note the bewildered expression of the 3rd crewman on the left. 

This is another terrific image with the handsome Farren showing his own open neck-line and muscular forearms for our enjoyment. More seriously the artist has created a tremendous sense of him escaping through the hatch, out of the poisonous, claustrophobic atmosphere of the tank.

Lister tries to get Farren assigned to someone else but when questioned is unwilling to explain why.

It's a stance not easy to believe in the context of this story line, when all he has to say is that he believes Farren was responsible for Eddies death. 

However, 'I'd rather not say' however is a classic phrase for a gay story line, especially in this military context when an allegation would result in arrest and, if proven, a long term of imprisonment.  Lister's shamed, evasive face as he makes his excuse is not what you would expect either, but nicely done.

Eventually Lister's crew have their tank destroyed by the enemy and are forced to trek across the desert to safety. This is a classic 50's story line from the movies with antagonists forced to confront their behaviour in a survival march context. When the water runs out, Lister's former feelings for Farren (whatever they were) begin to return, assisted by his soldierly duty to care for the men in his command and, like a true Brit, to behave honourably. 

Sadly the artist's accomplished technique seems to falter at this moving movement. You can see that he's trying to capture the drama by using a intimate close-up, but the result is not quite as beautiful as some of the other images and there's some clumsy detail. 

Nevertheless, notice how close together the two men's heads are, almost poised for a kiss?.

Finally, only Lister and Farren are left alive. In a delirious state, Farren finally reveals what actually happened to Eddie, an explanation that would not have been believed if he had offered it in a fully conscious state. Lister realises he has been wrong about his former friend all along. That night Farren wanders off into the desert like Captain Oates in order to give Lister a better chance of reaching safety, unburdened by a sick man. Lister loyally goes out looking for him but in vain and is finally found unconscious by a passing patrol.

When he eventually returns to his unit (see first image) he has a lot to think about.

This is a good story (if not totally original), but played out by a pair of hunky men in shorts and boots and tattered shirts (exemplified by this last picture) it is irresistible to me. Romantic more than erotic I suppose and it works well even if you don't buy into my supposed gay subtext.

Read my gay re-interpretation of this story

The Art of Homoeros 7 - Sebastian and other endings

Homoeros - Seb39 

Given Homoeros' interest in crucifixion it's not surprising to find him exploring the St Sebastian fable as well. This early rendering is simple and highly effective with a nice-looking subject. With his head thrown back, the captive seems to be defiantly offering up his body to the archers. The original Sebastian was a captain in the army who was condemned for deviating from the beliefs of his era, so the appeal of the story to gays is not hard to understand. For those purely attracted by the nature of the punishment it's nice to know that he did not perish from the arrows, but was taken in by a kindly soul and lived to fight another day.

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 This astonishing portrayal of the Sebastian story is totally original to the best of my knowledge. The physical elevation of the victim borrows from crucifixion scenarios and confers a degree of dignity and significance on him that seems to have left his attacker in a state of awe. In that respect it's treading similar ground to the building yard scene we saw in the last post, examining the relationship between torturer and tortured which usually goes unremarked.

The unconventional viewpoint used here has obviously been facilitated by the capabilities of the rendering software but that does not detract from the artist's achievement. Like Dali's Crucifixion it creates a sense of a superior being or of Fate looking down on a tragic scene being enacted by mere mortals.

Sebastian's arms are pulled right back behind the post, so he involuntarily presents his torso, unprotected to the archer, but Homoeros has refrained from depicting a titillating arrow in the groin area. Even by the great masters included this detail (e.g. Rubens,  El Greco, this example and this 17th Century version) and that has helped fuel suspicions of a gay/sexual motivation for his demise, but it's not referenced in the normal accounts.

The use of a post for restraint instead of the traditional tree seems to connect to other pictures by this artist musing on the myth of Jason being bound to the mast of 'The Argo' in order to resist the call of the Sirens. Making such a reference to a story about mastering sexual desire adds an interesting swirl to the murky, erotic waters surrounding Sebastian's legend.

This isn't meant to be an authentic interpretation of the original story, but transporting the action from an ordinary field to the courtyard of a luxurious villa is not without relevance to the original, since it brings out the elevated status of the man who condemned him (The Emperor). The archer (and there appears to be only one of them) is one of Homoeros' most interesting creations with brief, leather shorts and other limb accoutrement's emphasising an enviable physique (as you would expect from this artist). He's endowed with a beautiful face of Mediterranean ethnicity, which is near-authentic to the original narrative of Mauritanian, Berber archers doing the dirty work. 

Homoeros - sebastian_forgives_his_killer_2

This image further pursues the victim-perpetrator relationship into territory which is verging on the religious. That aspect which is accentuated by the glorious sunshine which incongruously bathes the scene. Sebastian demonstrates an audacious control-reversal which is clearly very confusing to the archer. He appears to be a man of some substance, doing the job himself, rather than appointing a lackey to do it for him, which you may interpret as either sadistic or honourable behaviour on his part. Sebastian's tilted head is an attractive, expressive element. It suggests an ability to patronise in extremity that you have to take your hat off to, but it must make the archer wish he'd used even bigger arrows. As it is, these over sized projectiles create an impressive visual effect and an impression of an irreversible outcome. Original accounts disrespectfully compared it to a porcupine.

Setting the scene in Homoeros', now-familiar 'punishment compound' creates a connection with other scenes by the artist and it's a device (possibly unintentional) that helps give Homoeros' work a unity and cohesive identity which is quite unusual and very interesting.

Homoeros - Dragged_away_02

This image looks at the aftermath of punishment. It's not linked to the Sebastian theme but you can see it's the same arena. The exhausted recipient is dragged away by two hunky men. They are dressed in jeans which returns us to the modern era, but it's best not to think too much about such things when viewing Homoeros work. Although this image has no particular erotic or fetish content (beyond the implication of domination) I find it immensely satisfying and that's due in no small measure to the contrast of clothing and muscular nudity and the workman-like attitudes of the two minders. There's a sense of this incident slotting into something much bigger and over which the dragged man has no control.

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This is a sequel to the harem image I posted in Part 4 and shows No 244 with ropes still dangling from his wrists and incarcerated in a cage which seems to be built for public viewing. He's just received a flogging and is awaiting his next appointment. It's a very simple image and one that perhaps works better on it's own rather than as part of a busy sequence of events, you need to pause and get into this one. He gazes towards the light of the bustling outside world, wondering no doubt what might have been. From his stance he seems to be observing something happening out there. Maybe someone he knows is passing by. You may recognise this as the same location as his St Andrews Cross adventure from Part 3 but we do not know if this particular unpleasantness has already happened to him or still lies in the future. 

 

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There's an even clearer focus on the feelings of the victim in this image. It depicts a Gold Medal-winning swimmer, who we previously saw flirting with a fellow swimmer in Part 1. He's just been violated and beaten up by a gang of hoodlums for reasons which are not specified, but there's a clue in the fact that they take photographs of 'the star' in his humiliated state before departing.

Regardless of that storyline, this is beautiful image, that conveys his dejected, weary state most eloquently. That alone makes for a sexy picture, but the discarded clothes at his feet inject an extra spicing of eroticism.

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We've come a long way from those depictions of sunny days on the beach, the carefree, playful games of handsome boys, who cannot imagine that their innocent fun is fuelling darker thoughts....

Homoeros - 212_19 pulley

....thoughts which will take them and propel them into the clutches of powerful predators

with captivity and pain the probable outcome.

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The dark and mysterious world that the men of Homoeros imagination must negotiate is summed up quite neatly by the atmosphere of this pretty fantasy. It makes a nice punctuation point to this review although it's self conscious artiness is not really typical of his work. The simple expressiveness of male bodies under duress in the preceding images is a better testament to his skills. Homoeros is a good example of an artist who repays the viewer who pauses to look closer. The first impression of quirky anatomy, occasional doll-like characters and low key sexuality, laced with impressive spectacle masks a wealth of original ideas and observation which I have tried to bring out in this series of articles. A worthy entrant to the fetish Hall of Fame

Next time: The women in Homoeros work

Read this series from Part 1

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Homoeros Gallery Pages