Sex in Art

Being an artist is similar to being a voyeur. Like a voyeur, there is a disconnection from the action going on, but also an intrigue in it. Of course, there are also some differences. The main difference is that the hand and intrigue are directed to different purposes.

These similarities, and differences, are visually expressed in the creation of pornographic art. The artist's voyeuristic mindset makes sex a great muse of inspiration, however, unlike a true voyeur, the artist retains a cognitive awareness that ensures that he does not submit to the dominating power of his emotions.

I discovered my difference from a pornographer with my painting Two Hands. Although the painting is of a pornographic image, the painting is not arousing in any way. One of the reasons for the lack of arousal is the lack of colour. As emotion resides in colour, a black and white image of a naked body is stripped of many of its emotions. If a man gazes upon the photo, instead of being aroused (and lose his cognitive thinking), he may become curious about the photo's shapes and form.

Although I have not submitted to my emotional desires when painting the naked body, or pornographic imagery, I have still been aware of them. Those desires have remained there like little voices crying to get out, but instead of letting them out to play, I have simply thought about them. I have subsequently painted some other feelings inspired by the conflict between my desire and my cognitive assessment of it.  A common feeling is one of sympathy to women. It is a feeling born out my moral conscience looking upon my desires for women in an objective manner.

Valentein's Day

Two Hands (Oil on canvas)

The Queen (Acrylic on canvas board)

The Voyeur (Oil on canvas)

Siuma (Oil on canvas)

Baldy (Oil on canvas)

Makala the Nude Model (Oil on canvas)

In Submission (Oil on canvas)