Mitchell's A-Z of Fetish Artists - Hasegawa Part 2

Hasegawa - Dragon Castle

Like many Japanese artists, Hasegawa had a great interest in tattooing and this beautiful picture expresses that very well. I confess I do not really share the attraction, but the body enhancing capabilities are well-illustrated on this beautiful boy that he has created.
The title (I think) refers to the tattoo design and is written on the picture in Malay - 'Puri Naga'.

Apart from those words you can also see other design influences and iconography that are not Japanese but drawn from across South East Asia. The model in this picture also seems to originate from that area. Hasegawa spent some years travelling in this part of the world, avoiding fame and no doubt widening his knowledge of spirituality and animalistic legends, which so often appear in his pictures.  

The style of the image combined with the boy's ecstatic pose and tattoos make this seem like a ritualistic, almost religious image, a gay icon.

Hasegawa - Paradise Visions 10

One expects Japanese erotic artists to depict captives in complex 'shibari' bondage. In this example by Hasegawa a fleshy young man is suspended from a scaffold-like structure in a particularly complex arrangement that accentuates his buttocks and creates a pose reminiscent of the flying cherubs that adorn the borders of renaissance religious paintings. It's an uncomfortable position in reality and Hasegawa would have been well aware that the ancestor of what we call shibari today was a technique for restraining prisoners of war with the intention of causing 'discomfort'.

Sadao sends a legendary creature to taunt and play with the helplessly bound young man. I believe this is Kappa, a cross between frog, monkey and turtle who, like the cats in Part 1, is capable of mischief and worse (with one particularly nasty practise, described here). In this picture he is offering the captive a drink of red liquid and the painting is spattered with spots of blue from the erotically-shaped flask at the bottom suggesting 'substances' may be involved in this fantasy. The sketched diagram to the frog's right seems to show a intention to climb the post to torment the hanging captive.

This image couples the artists interest in erotic bondage with suggestions of punishment and danger portrayed in a specifically culturally Japanese way as though he is hinting at the conservative disapproval of society for such practices.

Hasegawa - Ground Spider

Unspoken threats presented by various creatures in Hasegawa's work are made good in this picture.
It shows a man with his face in  traditional theatre make up. He is the captive of two, larger than life, ground spiders. A storm is raging with a lightning flash visible in the background and candles guttering in the wind in the foreground. This picture echoes the plot of a famous Kabuki play where the ground spider turns on his hunters, but the final action there is nothing like this!

The hero is armed but it looks like he's been paralysed by the spider's venom so was unable to use it. Somewhere along the way he's lost all his clothes and now he's being restrained and supported by the red spider (including one leg groping between his thighs) while the other one wraps him in silk thread (exuded from its spinneret bottom right). Presumably the victim is being wrapped for future consumption, but it's paying particular attention to his cock for some reason.

Beyond the theatrical fantasy we see here a fascination with death and exotic forms of sexuality (including bondage) whose attraction seems to hinge on the fear of the unknown and of falling under the power of others.

Hasegawa - Lion Dance

Hasegawa also uses more naturalistic 'Kabuki' scenarios to create complex carnivals of eroticism in which realistic figures dressed in the masks and impedimenta of traditional theatre create a dreamlike atmosphere. The lengths of cloth that entwine the action are the discarded fundoshi of the participants, one of them is tied round the neck of the central figure like a sexual trophy (see also comments to this post). To Western eyes it seems to have an element of threat, due to the intruding Samurai sword and the extensive use of masks and body colouring.  This work is unmistakeably Japanese, not just the faces and accessories but the culture, plays and legends it invokes to create a mysterious but exciting atmosphere. The presence of the lion is a reflection of the harmonic, respectful relationship which Oriental peoples have with animals which we in the West tend to relegate to childhood entertainment like Bambi and the Lion King.

Hasegawa - Elephant Dreams

The sun ray effect here, like the example in part one, suggests god-like qualities in gay men and enlightenment for the dreamer with the ancient, wise elephant spirits providing affirmation and approval. Some of Hasegawa's work is self-consciously 'arty'where he has attempted to modernise and adapt traditional forms to a gay palette, but there is plenty of meat in amongst it for aficionados of the male form and it's not always submerged in busy fantasy. Hasegawa draws the most handsome and desirable of men and generally without compromising ethnic origins. In style, his work has a semi-photographic appearance like Tom of Finland's work but there is a grainy texture in the shading which creates a most satisfying effect somewhat like pointillism.

His technique in depicting hair and stubble is striking. This interest in subtle body hair sets him apart from Tom, his anatomy is more realistic and his models have a lithe muscularity and youth which is delicate and enchanting.

His portraits of lovers can be stunning, creating a vision of tenderness and love that is unforgettable. In the example above a lover protectively embraces his tearful partner. In this context, the abundance of flowers, sprinkles of glitter and bubbles seem to be legitimate and meaningful elaborations,
emulating the joyful exuberance of South Asian weddings.

Of course you might reflect on what has caused the tears and why is the lover looking at us?
Is the yin-yang symbol (made of fishes) telling us of contradictions in this relationship?
Or is the look an expression of defiance for those who would make gay men sad?

In Hasegawa's world, however, even the most tender lovers (right) are haunted by ties and binding. It's as though the artist regards Bondage as akin to Commitment. This does not have to be a negative sentiment. After all, to an aficionado, bondage is a temporary restraint intended to focus and intensify the relationship between the two participants in a way that is mutually pleasurable.
Commitment can be the same.

Even the hunkiest of men can fall prey to the twining ropes. But in this image there's a disturbing hint of coercion by unseen forces. This fantasy seems to depict a yearning to restrict and control which is quite different to the submission depicted in the previous picture. The bleak setting is devoid of romantic flowers or mythological allusion.
It seems to represent a dark, soulless, lonely, sexual existence, a casting out that is chilling.

Submission is voluntary here and this image seems reminiscent of the youthful experimentation we saw in Part One. The face of the supplicant ,sucking on a lover's thumb like a baby, is beautifully drawn with an expression that seems to want to please. The traditional flower symbols unmistakeably convey the sexual excitement of both participants. The prominent geometrical patterns seem to speak of high nervous energy or perhaps the noisy confusion of a gay meeting place or watering hole.

Speaking of which! The contrast with this work could not be greater. There is no romance, no distracting symbolism, except perhaps the banana stripped back to expose the raw fruit within. Raw being the right word for this sex which is of the earthiest kind. And yet it's a sexual encounter without true intimacy, involving artificial penetration by dildo and the touch of a bodily fluid that is warm but separated from it's distant producer. There's a sort of honesty in this image, as though the artist is acknowledging his true self in some way, presenting it without artifice or artistic mediation.
The loneliness that haunts other images is no more.

The words on this image are in Indonesian and read from top to bottom:-
lust-passion-magic-love-fuck

In Hasegawa's work there is so often a subtle sense of isolation, loneliness and confusion and this picture seems to draw that out. Cat's cradle is a game for two and it seems to illustrate here the mystery of partnerships, sex and love. The game goes un-played while a hairy man shaves his body, preoccupied with himself.


In summary, I can only register my profound admiration for Hasegawa's sometimes perplexing art. His depictions of men in fetishistic situations seem to me quite beautiful and the complexity and sometimes the serenity of the world he depicts strike me as showing an essence of what it is to be gay.

~

Sadao Hasegawa briefly enjoyed fame as an erotic artist after publishing 2 books of his works in 1990 and 1996. He did not revel in celebrity and sadly took his own life in 1999 at the age of 54.
His images seem to offer subtle but ultimately undecipherable clues to his feelings

His legacy however continues to thrill and inspire.

He published two collections in book form - 'Sadao Hasegawa (paintings and drawings)'
and 'Paradise Visions' They are the principal source of his work for us.

I can't find an official on-line gallery for him but there's a good collection at LustSpiel and an image search throws up lots of examples

-

This article originally published in June 2009 
was comprehensively revised and extended in May 2019

Read Part 1 here

For other articles in the A-Z series click on the A-Z label below
or visit my artists index.

Mitchell's A-Z of Fetish Artists - Hasegawa Part 1

This article replaces my original A-Z entry on Hasegawa, published in June 2009

Hasegawa - Captive and Kittens

Sadao Hasagawa produced a wide range of gay art in a variety of technical and artistic styles.
 His most obvious fetish credentials stem from depictions of bondage such as that above. His pictures often include unusual, mysterious symbolism like the mischievous kittens on the right who appear to be implicated in the young man's bound-up state and have left their claw marks on his upper body*.

Meanwhile S&M clothes pegs lie unused on the floor and incense(?) smoke writhes around him
 lending an air of sexual ritual to the proceedings and suggesting that there are more trials to come.
No wonder the captive looks sweaty, confused and fearful!

Hasegawa captures herethe thrill of submitting to bondage by another another man.


His depiction of the captive man is sensual, with luscious, chunky muscularity,
somewhat in the style of Tom of Finland but more grounded in realism,
such as hair detail on his body and legs.

 * I gather that cats have great significance in Japan as cute bringers of good luck but also as creatures with a hidden capacity for great wickedness. However I hesitate to interpret their precise role in this picture, which I suspect is more complex than that! 

Hasegawa - Sailor and Kitten

This picture seems to show a man in the process of submitting to bondage - with another kitten in attendance. His face is expressionless, maybe a little sad, but the water lilies rising behind him seem to the symbolise the unmistakeable sexual excitement in the air.

The subject wears a US Sailor's cap but is unmistakeably Japanese. Westerners might relate this combination to the Madam Butterfly story or simply to the occupation of Japan after WWII. The headgear doesn't really fit with the lowered shorts but they are also somewhat Western in style. So there's a sense here of the exotic, of foreign and perhaps powerful cultural influences. His resigned face and proud posture suggests they are not necessarily welcome or considered benign.

Hasegawa - Athlete in Bondage

This is one of my favourite Hasegawa pictures. The ripped clothing and restraint to angled scaffolding conjures up the idea of a jogger waylaid on his morning run and carried off to an abandoned building site for further attention. His shorts carry the same double line motif as the sailor above, again hinting at Western branding.

Hasegawa - Swimmer

There's a similar impression of Westernisation in this splendid, Speedo-clad swimmer. This time though it has a message of modernity, reinforced by the jazzy, geometric background with it's anarchistic squiggles and paint splatters.

The model oozes youthful, puppy-fat sexuality but his seductive look is knowing, his lustful state obvious and the dangling drawstrings are openly inviting. He pinches himself too, suggesting that he's got more than romance in mind.

Hasegawa - Martyr

This image makes Hasegawa's connection with American culture much clearer. It appears to be based on a photograph that could have come straight out of AMG's 'Physique Pictorial' magazines (although the mystical symbolism in the bottom corners has a touch of Gilbert and George about it). This picture is from 1979 so the referencing of 60's imagery (when Sadao would have been around 20) suggest it was a significant formative influence.

Unlike AMG's situation, the framing of Japan's censorship laws (and the passage of time) allows Hasegawa to depict the young man's, snug-fitting, 'posing pouch' in a way that reveals almost all that is within. AMG would have labelled this image as 'The Slave', but Hasegawa elevates him to Martyrdom. He defiantly holds a blood-stained quill aloft, a possible clue to his crime.

Yuko Mishima as Saint Sebastian

Hasegawa's Martyr picture was produced shortly after the ritual suicide of Yukio Mishima, who was a famous poet and actor of the time with views which we might regard as nationalistic today. There's an obvious similarity between his memorable pose as Saint Sebastian (above) and Sadao's picture. It reflects the profound effect of that artist and his death on Japanese society and hints at a darker side to Sadao's personality.

Yuko Mishima wearing a Fundoshi

Mishima was profoundly Japanese in outlook and he is seen here holding a Samurai sword and wearing the traditional, male, underwear garment, the fundoshi, which consists of a single strand of fabric which the wearer winds round himself in a specifically defined manner. It's associated with manhood and learning the ritual is part of a young man's coming-of-age. The self-bondage implied has obvious sexual connotations. It not hard to see how the AMG posing pouch referenced in 'Martyr' might strike have struck a chord with an impressionable young Hasegawa.

Hasegawa - Impaled

In this 1980 picture, Hasegawa reworks the martyr theme with rope bondage in a more Japanese manner and the fundoshi taking centre stage. This martyr has been stabbed with the quill (à la Saint Sebastian) and the picture appears to show his final expiry with a spiritual essence emerging from his mouth, to be escorted to heaven by a hovering bird.

Hasegawa makes no secret of the eroticism he sees in this moment. The loosening of the fundoshi not only reflects that sexual tension but also represents its release from constraints, not least I suppose the constraints of what it is to be a man in Japan.

 The ingredients mentioned above, i.e. US gay culture, retrospective references and dark desires, also feature in this later, collage-like work.

It shows (left) a young man in restraint in a pose that is clearly based on the classic 70's bondage image which I have previously posted in 'My initiation'. Hasegawa's subtle alterations give the figure a 'clean' appearance, so he looks young and inexperienced. There's a sense of him submitting to the dangerous unknown (embodied by the lurking snake) and he's aroused by it. (There's also an element of that in the first picture in this article)

He is contrasted with a more mature man who is undergoing, and thoroughly enjoying, the demanding rigours and domination of a full-blown, leather scene of a later era. There seems to be a story being told in this picture, recalling a young man's passage from an immature interest in male bondage to full S&M sexual expression, with the candles signifying both his burning passion and the passage of time.

I think the creature on the right gnawing at the ropes is a rat rather than a mouse. It adds an element of basement sleaze to Western eyes, but in the East they are usually seen as clever, prudent creatures. Hasegawa has given this one sharp teeth and quite evil eyes, but it's only attacking the ropes.
The nagging of conscience, perhaps? 

Youthful yearnings and explorations are perhaps remembered too in this marvellous image. A young man has tied himself to a post and is enjoying a private fantasy of captivity. A lotus flower opens revealing it's full beauty and symbolising enlightenment and rebirth emerging from murky depths. However, it's a picture which also conjures up an impression of loneliness, accentuated by yet another cat which ignores the young man and pleasures itself.

In this picture there's a more obvious air of experimentation. It shows a young man developing his sexuality by tentatively exploring the sensation of penetration by a dildo (it's a vibrating one too, the electrical gadgetry being a touch of modernity which seems typically Japanese). I believe the picture is entitled 'Revelation' and that sentiment is reflected in the rays of light emanating from his head. These also seem to confer a god-like status on him.

This picture, like the preceding one, bears the 'yin and yang' symbol of spiritual balance and male and female in conjunction. There are more lotus flowers in attendance, they seem to cradle his nether regions in a manner that is highly suggestive of sensuality. Remarkably, Hasegawa manages to infuse this essentially, sexual imagery with a touch of artistic class.

The theme of solitary experimentation seems to reach a climax (if you'll pardon the pun) in this picture, in which pure, sexual sensuality almost succeeds in elbowing the mystical symbolism out of the way, leaving only hints of vulnerability (to prying eyes and sharp claws).

There's not a lot of artiness in this all-fours pose although this man and his sun-kissed bottom are undeniably attractive from a sexual point of view. Looking past that it's hard to avoid a feeling of self-abasement and isolation in this image. In some ways the trailing ropes and untended dildo give an impression of a departed partner. Regardless of that this young man is lost in the moment revelling in multiple erotic sensations and there's no crime in that.

More Hasegawa in Part 2 (next post)

ref1200

Get Carter!

Regular readers will know I have a thing about men in shorts and this weakness led me to this image of model Frank Carter wearing deliciously skimpy cut-offs. It helps if you have thighs that fill them of course. The car wash scenario is always good for mitchmen manipulations, usually men only do it under duress - or for money. All that soapy water sloshing around makes for good erotic moments.

Photo: Men of Toronto

Discovering Frank Carter sparked one of my periodic 'hunk hunts' and further exploration led me to this image. I'm not sure what the official name of this garment is, but it's very sexy and showcases Franks curvaceous torso beautifully. It's somewhere between underwear and sleepwear and the unusual design gives that little jolt of daring that a sight of ordinary underwear used to provoke before such images became commonplace. Frank's casually seductive pose helps of course,
he seems to be saying to us "Well, are you coming or not?"

photo Thomas Synnamon , more

Even in an age of overexposure, some underwear can't help but make you look twice.

The bold, gold scrolling frames Frank's bulge in a typically unsubtle, Versace-esque way.

The design also gives a weird sense of it spilling out upwards from between Frank's legs 

and engulfing his nether regions, tentacle fashion. 

 more Danny Miami

Frank's upper body musculature is also worth a closer look in this picture. 

The lighting has drawn out the nakedness of his shaved torso in a very striking way

It looks like a hint of puppy fat, suggesting both inexperience and exposure.

Frank himself looks down, doubtful about it all.

This picture strikes a more conventional note showing off Frank's masculine assets
in a more natural way with the glimpse of pubes and hint of 'growback'.

The aqua colour co-ordination sets off his tan very nicely, it's a hint of sophistication in this deserted urban backwater, but the lowered (at the back) swimming trunks and untied, 'spurting' drawstrings coupled with suggestive frontal shadowing send an earthier message.

James Franklin 'Boystown Series'

It's no surprise that jockstraps love this model's body.
Although the colours here are high fashion, there's a sense of energetic work going on here,
accentuated by the bare walls and model's tousled hair. 

The surprised pose suggests discovery, intrusion and threat. Nice.

They used to say 'Think Bike' but I'm not sure they meant this.

Imaginative minds can toy with the sensuality of flesh on leather

 and just-visible erotic details like the jock-bulge and buttock cleavage,

but the overwhelming impression is of a brooding, hairy giant.

Frank Carter has a giant-like look in this picture too, thanks to his elevated position and great boots.

Near-naked hikers standing on a rock top are always going to seem intimidating in desolate, remote locations. More endearing is the impression of poor eyesight and timid underwear flashing. 

 Outstretched arms against a black wall hint at darker, crucifixion imagery, which the casual placing of the right foot flat to the wall does not quite dispel. The model's lean, detailed torso and skimpy trunks also seem eerily appropriate. But it's also a confident pose exuding strength and self-assurance.

 

This picture of Frank Carter by Jorge Friere.

The up stretched arms in this picture also call bondage scenarios to my mind.

They also highlight the minimal covering provided by the skimpy  underwear
whose buttock shaping capabilities are admirable,
not that this model needs much help in that department.

I like the story this picture tells. 

The model opens a very conventional white shirt to reveal a hairless torso underneath 

and some very unconventional white briefs with see-through panels in strategic places.

Imagine a group of tipsy office workers in a bar, a dare, a bet and suddenly Frank finds himself having to reveal a weakness for kinky underwear. His facial expression shows he's not quite sure what reception this will get from his fellow workers.

Photo by Paul Jamnicky

 This picture by Joee Vee reinvents Frank as a sexy, 'nice guy'

(although you know what they say about men who don't wear underpants).

The reversed cap and trimmed beard narrows his face to a more youthful shape

and there's also a delightful naivety in the wall-leaning pose and open top button of his jeans.

The open denim jacket makes your hands itch to get inside and hold that lean torso.

This is a naked as Frank gets but it does not disappoint.

This pose of nude man on spacious white bed is a speciality of Joee Vee

It's surprisingly erotic, recreating the classic 'baby's first picture' scenario 

with the adult baby here looking slightly embarrassed about it all.

Joee Vee also on Instagram

See more of Frank Carter on Instagram

For other 'hunk hunts' click on the hunk label below

Bareass Blogs No 33

Bareass Beguiler

(Anthony Page)

Go to No 34

 View Bareass series from No 1

Bareass Blogs No 32

Bareass Bedraggled Bar-Fly

Go to No 33

 View Bareass series from No 1

Bareass Blogs No 31

Bareass Blind Cleaner

(posed by the lovely Heath Jordan)

Go to No 32

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The Art of Ephorox

Ephorox - Mr Gentleman (Slutty)

Ephorox's art is all about heroes, supremely muscular and astonishingly endowed (to the point where 'well-' no longer seems like an appropriate prefix). This character is dubbed 'Mr Gentleman' and Ephorox explores his persona in a series of images. His super-hero mask of anonymity is about as effective at hiding his identity as the matching one-piece outfit is at containing his equipment. Hence the 'slutty' tag, I suppose.

'Sticky-out ears' are a weakness of mine (sticky-out veins not so) but Ephorox has also given this character a handsome face to admire. There's a certain boyish coyness about the thoughtful pose that suggests a interesting personality rather less assertive than the muscularity and gloves might lead you to expect. 

Ephorox - Monkey Emperor and Tyon

 The 'Monkey Emperor' is another Ephorox character notable for his ears. Animal hybrids are not my thing but ME, as he is known, is human enough and cute enough to pass muster. That goes for Tyon here too, his massive bulk alone is sufficient to inject a sense of 'The Beast' into this sex play, qualities which ME seems to struggling to handle. This is supposedly his present to Tyon and the artist has used a more fuzzy, 'painterly' style for the image, a sort of soft focus which gives it a romantic overlay. 

Ephorox - Sailors

Romance is explicitly signposted in this stylish image which seems to owe something to the Gilbert and George and Jean Paul Gaultier schools of Naval iconography. It's a nicely balanced, visually pleasing composition which catches a sense of masculine grappling, somewhat like rutting stags.

The organs here have less challenging proportions but there's still a suggestion that the recipient has room for more and is even yearning for it. Perhaps that's an invitation to the Peeping Tom in the background. His presence all set to record the passionate scene on video gives the picture a bit of an edge, hinting at anti-gay military regulations, blackmail and exposure.
Or is it simply the classic, closeted voyeur wishing it was he?

I previously featured a similar robust sexual encounter from this artist
in my prison series You're Going Down!

Ephorox - Jed, You Are Trapped With Me

There's an edge of a different sort here with the big guy on the defensive having innocently exposed his wares and attracted an unwelcome interest. We all know the situation but can still relish the attractive, young hunk being put on the spot instead of being a honey pot for males. I presume the fluttering paper represents ticker-tape, suggesting a New Year's celebration or something similar, which would account for his indiscretion and the embarrassing behaviour of his admirer.

Ephorox - Military Man

You may find your reaction to this picture is different to the preceding one, but it actually depicts a similar sort of sexual aggression. The Military Man's Uniform seems to be related to the that of the Civil Guard in Spain and similar forces whose overt sexuality sometimes seems to be part of their uniform. Hoever, but his face suggests a softer temperament than those real Policemen usually project. There's a Military Man sequel which shows his (somewhat predictable) reaction to this breach of his protective shell by an audacious admirer.

(The 'open shirt reveal' as an erotic device goes all the way back to Errol Flynn of course).

Ephorox - Hypnotizing

 There's a more sexual intimidation of men in this image featuring that indispensable character, 

the hapless burglar, where would we be without them? Two for the price of one in this scenario as befits a superhero (whose status I deduce from his characteristic boots, suggesting that he must wear them in bed). The placing of the figures and the dialogue spell out how intimidating and confident this muscular man is and how much in awe of him the criminals are. He actually wields his gay sexuality as a weapon against straight rogues, it is remarkably affirming. In this and other pictures Ephorox has a talent for making clear an idea that others only hint at.

There's also a version of this picture which has been finished in full colour by Louderland  to underline how spectacular the hidden appendage is, but I prefer this sketch which focuses on the burglar's embarrassment and sexual dilemma. See his version Hypnotizing in colour

Ephorox - Time For Work

The wit, warmth and domesticity of this sketch sets it apart from the fanciful, heroic fantasies and seems to give us a glimpse of the real Ephorox. This man's body development is still exaggerated but softer (in every department!) and less therefore intimidating. His words convey an equally mild and appealing personality. His skewed necktie is downright sexy. Nice.

Noxypia - Warrior of the Mountains

You may be familiar with this image published by Ephorox under the name Noxypia. You can see his hand in the jutting jawline of the Warrior but the snowy landscape and more subtle treatment of the muscular torso reveals greater depths to his technical talent. This is classic fantasy art which in it's modern incarnation tends to bring exotic locations and mysterious forces to the fore, rather than the dragons of Boris Vallejo.

Ephorox - Tentacle Jaws

 If 'Warrior of the Mountains' reveals unsuspected representational skills, this astonishing picture puts Ephorox up amongst the best of cartoon dramatists. The depiction of this threatened superhero from the waist up would grace any comic, invoking his muscular struggle and fear most convincingly. The dramatic, angled viewpoint creates a genuine sense of him being drawn, cock first, into the gaping maw with it's ring of vicious teeth. If you think about the physics of real life here you can see that Ephorox has pulled off some clever visual trickery in making it look so convincing.

In a way this image gives a context to the whole of Ephorox's art, with it's colourful assertion of (gay) masculinity on the one hand and the complementary fear of being emasculated (repressed) on the other.

Ephorox - Gentleman's Message

 To neutral eyes, the wildly exaggerated organs of this artist seem too outrageous to be considered as serious porn, but if you read comments by Ephorox on his sites (see list below) you will see he has encountered censorship issues on some platforms. This image documents his personal struggle to come to terms with that backlash. Mr Gentleman voices defiant, affirming sentiments, but ironically his cock is tucked  away, out of sight inside his one-piece. Emasculation indeed. Personally I find that bulge more erotic than wild nudity, but the picture is a reminder that our self expression is always liable to be threatened by the forces of conservatism.
Remember 'Charlie Hebdo'!

The creeping censorship of the web makes explicit artists harder and harder to track down, 

but you can presently see some of Ephorox's work at the following sites:

Ephorox Blogspot (not updated since 2013)
Ephorox at Deviant Art

Noxypia Gallery at Deviant Art

Ephorox collection at Daddy's here