Kimberly Lucy Natural Love
- 3 years ago
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Kimberly Wilder: An Assessment free porn video
Pull up a chair. Oh. That's right. If you're reading this article,
you're most likely at your computer monitor, which means that you've
already pulled up a chair.
Okay, good.
In this article, I'm going to review the splendid art of a magnificent
(and very beautiful, too, by the way) transgender artist who goes by the
name of Kimberly Wilder. Several Yahoo groups are dedicated to her art
and that of her friends. She has--or had--also posted some of her work
on various other websites. It's harder to find now, though, it seems.
Signing her art "kim2wild," Ms. Wilder--or Kimberly, if I may be so
bold--offers finely drawn pencil sketches of sometimes-unlikely sex
scenes which usually have a bit of a BDSM edge to them and, of course,
feature cross dressers, shemales, and other transgender characters.
A very talented young lady, Kimberly's work is on the level of fine art
and deserves a far greater body of admirers than it has, perhaps,
acquired to date, for it is difficult for an erotic artist, especially,
perhaps, an erotic artist whose themes are sadomasochistic and involve
transgender personae, to gain much publicity in the so-called legitimate
art world. Although artists, in particular, and art, in general, are
often not only sexy in and of themselves, but extremely tolerant, the
same open-mindedness doesn't seem to apply to most art enthusiasts.
Slender and statuesque with a classically beautiful face and a sexy
figure, the raven-haired Kimberly is frequently, if not always, the
model for the main characters in her art. Like the work of Christopher
Leach, another, but very different, transgender artist whose work I also
admire and about whom I have written (check out my article concerning
him; it's also available on Literotica), Kimberly's art is often all
about her, both literally and figuratively.
As a boy, she played dress up and, tragically, she was sexually
molested. Her traumatic experience is repeated, as it were, many times
over, in the sexual abuse that her drawings' alter egos frequently
suffer. Like many other artists, Kimberly uses her talent to transcend
the pain and suffering she endured in the past, making of these painful
experiences the raw materials, as it were, of her present transformation
of herself into a gorgeous transvestite and her celebration, in her
beautiful drawings, of herself and all her experiences, past and
present, pleasant and painful, alike.
Kimberly's art often features young transvestites and transsexuals, who,
if they have turned eighteen, are seldom older than that. They are
extremely well executed and altogether lovely, looking like girls next
door who have been glamorized so as to appear just a little lovelier
than their actual counterparts. Almost invariably, they are slim, with
fine features, relatively small breasts, and penises that range from
average length to larger.
They are usually dressed, at least partially, in the frilly, fun
lingerie that young women wear as if such apparel were a second skin.
Although there isn't really a typical costume among Kimberly's girls,
many of them dress in (sometimes transparent) bras, garter belts and
stockings or pantyhose (sometimes with cut-out crotches or buttocks),
high heels, corsets, camisoles, summer dresses, and, occasionally,
formal evening gowns. Some wear maids' outfits. A few of her characters
wear schoolgirl uniforms, overalls, and other, more unusual attire. They
always wear makeup, and their hair is always fashionably or elegantly
styled. Most wear jewelry and carry purses. A few wear ribbons in their
hair or hats upon their heads. Whatever costume she wears, every one of
them is beautiful and sexy.
Much of her art has a humorous element to it. Two young ladies may be
crushed to discover that each is wearing the same outfit. A beauty may
be alarmed to find that the hotdog that a dominant, older woman is
putting on a charcoal grill resembles the younger woman's own erect
penis. In one picture, a lovely young cross dresser is horrified to have
been discovered masturbating by a shocked, older woman, possibly her
mother, who has come, in a transparent slip, to use the facilities: the
girl, having finished masturbating in the bathroom, is caught
ejaculating her semen onto the mirror before which she stands.
Waitresses may bear trays upon which are displayed lit (or melting)
phallic candles. A saddle may be equipped with a dildo so that the young
horsewoman is fucked simply by mounting and riding her steed.
A few of Kimberly's pictures--usually the earlier ones, it appears--have
a fantasy theme. In one, a nubile young shemale is being fellated by a
beautiful sex demon (or, alternatively, an alien, for a flying saucer
hovers in the sky above) with wings, a tail, and six breasts (pairs in
three tiers, one below the next). As she is sucked off, the lovely
tranny holds on to the long horn which grows from the top of the
creature's skull, tapering into a sharp point, looking, all the while,
as if, despite her uncertainty and fear, she is enjoying the act.
In another drawing, a transsexual Amazonian queen sits upon an ornately
carved throne, the armrests of which are winged skulls, as her warriors
parade a line of naked women--presumably captives--before her for her to
examine, possibly in order to select, from among them, a paramour, a
servant, or both--in the form of a sex slave. Kimberly's art often
allows viewers to apply their own interpretations to the marvelous
scenes she depicts, although many also are based upon specific literary
works (Harry Potter, for example) and are not, as such, as open to
personal or idiosyncratic interpretations.
In another work, a satyr despoils a virginal shemale: his arm around her
neck and shoulders, the fawn lifts the astonished, terrified tranny off
the ground. Her ass is at the level of his waist and her raised legs are
spread wide, offering the viewer an unimpeded view of her impaled anus
and of her own erect cock and tightly bunched balls. Despite her terror-
-or perhaps because of it--the damsel in distress is obviously aroused--
a theme common to much of Kimberly's work.
Another fantasy piece involves Walt Disney's Snow White, frolicking,
sexually, with one of the Seven Dwarfs--Dopey, it appears. He is bent
over at the waist, with his pants down around his knees, sucking the
transsexual princess' large, erect penis while the pale beauty fucks him
anally with a dildo, the balls of which resemble the ears of the Disney
mascot, Mickey Mouse, himself. Behind the impaled, cock-sucking dwarf,
the others wait in line. The next dwarf, anticipating his turn, has his
erect penis in hand, and he masturbates, a happy expression on his face,
as he watches his peer please the princess.
A Christmas scene shows a lovely young miss in a transparent nightie,
wearing stockings, high heels, and gloves that rise to the middle of her
upper arms. As she hangs an ornament on her yuletide tree, her cock,
erect, making a tent of the front of her nightgown, she holds the shaft
of a large candy cane, which she has inserted well into her ass.
In a work reminiscent of Rene Magritte's surrealistic painting,
Attempting the Impossible, an artist, looking suspiciously like Kimberly
herself, seems to put the finishing touches to a magnificent erection
she is painting--an erection that juts through a hole in her canvas and
onto the painting's surface. The canvas itself has been painted to
resemble a wooden fence, so that the penis that the artist paints is
both an imitation of an erect prick and the actual erection itself. The
stiff, hard cock that she paints is mirrored by her own erection, so
that this surreal masterpiece invokes questions, all at once, about the
nature of art, the nature of reality, the nature of perception, and the
nature of artistic inspiration.
If Magritte seems to have been Kimberly's muse on one occasion, so, too,
does H. R. Giger appear to have inspired her on another: the head of a
clearly phallic monster is shown in a sketch that could well have been
executed by Giger, rather than by Kimberly. Mere inches away from a
splendidly tight, firm, round pair of buttocks, its tongue licks the
cleavage between the sleek, fleshly spheres. Shown in profile, the
glans-shaped head of the beast is equipped with a pair of jaws which,
open to allow the monster to extend its tongue, are lined with sharp
pointed fangs. It is phallic, but not a penis per se; it is snakelike,
but not a serpent as such. The tiny, cruel eye above the jaw is inhuman,
reptilian, and unnervingly predatory. As always, Kimberly's art, whether
inspired by the work of another artist or entirely a product of the
orgiastic pandemonium of her own inner demons, is highly original and
exquisitely lovely, even in its occasional grotesquery.
In some of her fantasy works, a beautiful female or a lively shemale or
transvestite nymph struggles with patriarchal power which takes the form
of a monstrous phallus. One young woman resembles Eve, without Adam. She
is shown struggling with what seems to be Eden's primordial serpent, the
devil. However, the presence of two other serpents calls into question
this initial interpretation. One snake, python size in length and girth,
has climbed a tree--the tree of the knowledge of good and evil?--
wrapping its coils around a limb. However, half its length hangs from
its perch, coiling around the woman's throat and choking her. Instead of
a serpent's head, the snake has the head of a penis. At the same time,
from the grass at her feet, a second snake, wound around her right calf
and thigh, penetrates her cunt. Simultaneously, a third snake, rising
from the thick grass, impales her anus.
Is the identification of the young nude with Eve too straightforward?
What is the viewer to make of the absence of Adam; of the presence of
not one, but three, snakes; of the serpents' choking of, and sexual
assaults upon, the lone and defenseless woman; of the tree (is it the
tree of the knowledge of good and evil, or only a tree?); of the strange
whirlwind-like cloud coming toward the woman from the picture's distance
(is this God, a tornado, or just an odd confusion of the air, a mirage
of sorts)? If the allusion to Genesis' account of the temptation and sin
of Eve is intended, Kimberly certainly opens the traditional
understanding of this critical moment in Christian faith and, indeed,
Western culture, to new interpretations, understandings, and visions--an
amazing feat for any artist and for any painting.
Quite a few of Kimberly's other drawings include religious symbols,
figures, and themes. Nuns--most of them transsexuals themselves--are
frequent characters, availing themselves of their charges' mouths,
hands, anuses, rectums, penises, and testicles; coming onto innocent
students as the twosome stand before a crucifix bearing a female Christ;
turning a blind eye to one student's sexual assault by her peers;
"disciplining" wayward girls (i. e., shemales), leading them away on a
leash, baseball bat in hand, to be beaten; or escorting a neo-Nazi
female commandant past a file of bent-over schoolgirls who exhibit their
bare, branded buttocks--and their cocks and balls--to the visiting
dignitary.
In other drawings with religious themes, the characters are associated
with less specific a religious creed. In these sketches, sex occurs
between an angel and a female devil or a transsexual demon or between a
human t-girl and a female demon. In one case, a demon fucks herself with
her cock or tail (it is unclear which).
In many of her drawings, the artist's central character--almost always
Kimberly herself, or a version of herself--has a secret (a penis) which
is revealed, much to the protagonist's mortification. Kimberly's art is
an endless coming out, the repeated revelation of her transgender status
an artistic confession of sorts by which she seems to seek not so much
reconciliation as acceptance (or, maybe, self-acceptance), validation,
love, and the freedom that comes with such tolerance, with such
affection, and with such esteem. It is often a frustrated hope, though,
for her art is full of pain, of suffering, and of misery, of both a
physical, a sexual, and an emotional nature. It is the pain of a martyr
who wants relief and release, but who also has come to enjoy and to need
the domination and the control of others and the punishment and the
derision that they heap upon her, despite--or maybe because of--her
beauty, her talent, and her personal hopes and fears. (In a cruel world,
beauty may be more a liability, at times, than an asset.)
In seeking rest for her tortured soul, Kimberly takes many forms. She is
a schoolgirl, a best friend, a cross dresser, a transsexual; she adopts
the persona of the maid, the waitress, the waif. She becomes an angel, a
demon, a servant, a religious devotee, a captive of Amazon warriors. She
plays the part of the merciless dominatrix, the cock sucker, the ass-
fucked bottom, the streetwalker, the bride. She poses as a daughter, a
secretary, a coworker, a patient, a prisoner, the reviled and the
scourged. But, most of all, she is the damsel in distress, the helpless
victim, the tortured martyr, the tormented soul, seeking, eternally,
acceptance, respect, and love, but doomed, forever, to suffer rejection,
fear, and dismissal instead. Our early experiences often shape--or warp-
-us, but it is the sign of a true artist to use such experiences,
traumatic though they may have been--and may continue to be--to shape
his or her art, and Kimberly, as a very fine artist, certainly does this
in her magnificent work.
Liesl
- 15.09.2022
- 12
- 0
