Christopher Enslaved For Life
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Christopher Leach free porn video
Christopher Leach is a transvestite English artist whose erotic work is,
at times, reminiscent in style of that of Aubrey Beardsley's art nouveau
sketches and in theme to that of H. R. Giger. Many of his pen-and-ink
drawings are black and white, but his work includes color sketches and
some oil paintings as well. He describes his early output as including
"softer, more decorative" work of "tasteful Art Nouveau Style drawings"
and "tasteful nudity," and his later work as "fetish and transgender
erotic art" and as "hermaphroditic art" that features his "alter-ego
Tgirl, Jojo."
He mixes symbolism, surrealism, and expressionism with his distinctive
decorative Art Nouveau style, having learned to mix media in creating the
collages that characterized his early years' production.
Leach identifies these artists as inspirations for and influences upon
his own work: L.S. Lowry, Marcel Gromaire, Raymond Bertrand, Otto Muller,
George Grosz, and Ernst Fuchs.
Leach's work is identified by unusual titles such as Teasel Tine and the
Toy Boy, Black Forest Clinic, Where Do Dreamy Traffic Wardens Go When It
Gets Wet, and Fetish Tram. They are crowded with bizarre figures--men,
women, and transsexuals--who, partly or fully nude, engage in strange
activities that often do not seem to have any relation to the works'
titles. When they do wear clothing, the garb often comprises odd
costumes. A female figure central to Happy Valley, for example, wears a
bonnet, a mask with antennae which may or may not be intended to
represent a butterfly; a tall, spiked collar; a bustier of sorts, made of
crisscrossed laces with cutouts to expose her breasts; black gloves that
rise to the middle of her biceps; a garter belt; and fancy mesh
stockings. Her left arm is around the shoulders of a smaller male figure
who wears dark sunglasses and a brassiere, the left strap of which is
looped around his left biceps, revealing a breast, and she paints upon
his bare belly while his left hand hovers before his erect penis.
In Happy Valley, the mostly nude male transvestite whose belly is being
painted by the lady in the mask, high spiked collar, bustier, gloves, and
stockings has an erection, the glans looked like a glans, but it also
resembled the cleft of a vagina. This ambiguity of male and female and of
masculine and feminine is repeated throughout the drawing, as it is in
many of Leach's other sketches. Vaguely penile and vaginal shapes abound,
as do suggestions of disembodied buttocks which sometimes make up parts
of the figures and sometimes parts of the landscape or of the buildings.
Ambiguity is everywhere present, as shapes that first seem to be phallic
later appear to be buttocks or breasts and vice-versa. Even inanimate
objects, like the earth itself, are strangely and ambiguously sexualized,
even more so than the same objects were sexualized (again, ambiguously)
in Beardsley's work.
As in Giger' biomechanical art, human beings sometimes merge, literally,
with man-made or natural objects.
Leach's "surreal illustrated fantasies" of "a world of copiously-breasted
sirens, latex-clad dominatrixes, and happily humping hermaphrodites" have
also been compared to that of the medieval Dutch artist Hieronymus Bosch
and has been declared "Definitely some of the strangest and more original
erotic artwork we've seen in a while."
According to Leach, his work is not intended to convey any specific
message. Instead, he says, the images in his drawings "just unfold across
the page like energetic surreal daydreams. . . ideas and images just
weave themselves together as my libido and imagination does the thinking
for me."
Although Leach denies that his work has any unifying theme, one such
connecting idea seems to be his work's insistence upon the unity of all
things. Rather than living in a world of distinct and disassociated
objects wherein there are clear-cut divisions between the objective and
the subjective and among the many and varied categories of existence,
Leach's art suggests that such dichotomies and classifications are
artificial rather than actual or natural and that, therefore, if they are
taken literally, they are false and potentially hazardous. Human figures
interact with plants and inanimate objects as well as one another. In An
End to Waiting, several transvestites wearing nothing but stockings are
penetrated per anum by the tendrils of a flowering vine. Similarly, in
Jyllinge Girl, a flower grows from the small of a back, just below a pair
of legs wearing stockings; bent at the knees, the legs combine to become
the forearm of a woman holding a wand. The back above the buttocks form
the woman's left shoulder, which is extended straight out from her body.
As the title of another work, Cello Woman, implies, a woman's upper body
forms a cello. She has no legs, but is supported by a pair of bare feet
that grow at the bottoms of her severely truncated thighs.
Reading from a sheet of music on a stand before her, she plays the
strings of herself, which emerge from her pubic region, run along the
center of her midsection, and merge with the wooden neck of the
instrument that rests upon her left shoulder. This image is repeated,
with a variation, in If I Ruled, in which a masked, bare-breasted woman
holds a cello that consists of a woman's torso; she has neither arms,
legs, nor head, and her neck, greatly elongated and wooden, is the neck
of the instrument. In Boy Venus 550, a pair of buttocks, a lower back
clad in a corset, and a pair of upper thighs wearing stockings form the
hills of the background landscape. In Joys of Gardening, a woman's body
merges with the front of a building, the large front window of which is
centered just below her bare breasts and, below it, the door is centered
in her belly. Legless, her belly and groin, which appear to be made of
brick or stone, fuse with the ground below. In the same picture, a
woman's well-lashed buttocks give rise to the back of a corset that
resembles the back of a chair or, perhaps, a trellis (in Leach's sketches
and paintings, one object often resembles another, adding to the
complexity of his "daydreams" and multiplying the ambiguity of his
symbolism, the intent being, it seems, to suggest the interconnectedness
of all things, natural, technological, psychological, social, sexual, and
otherwise).
Jojo
On his Web site, Leach discusses his muse, the T-girl whom he calls Jojo.
He met her, he says, in a 1919 Pablo Picasso painting, Italian Peasants,
that he studied as he tried to learn how to draw faces. His alter-ego as
a transvestite, Jojo is a stand-in, as it were, for the women whom Leach
lacks in his life as he maintains a bachelor's existence between periodic
girlfriends "who through no real fault of their own have brought mostly
heartache and loneliness."
Leach admits that he is partial to young women; girls captivate him
because "for me a slim teenage girl in particular can be just perfection
itself." He describes women in biomechanical terms much like the images
of Giger, referring to them as "A beautiful living machine with moist
lips and bright eyes." All the men in his pictures, he says, are versions
or images of himself:
"Sometimes I was an angel, sometimes I was a figure of fetish fun: I was
even a hermaphrodite with an erect ejaculating penis moving amongst the
excited women like a busy humming bird. At more serious times though I
was just the artist or even a fully clothed slightly bewildered voyeur."
However, he also adds that "The hope for my art is that by creating
beautiful images it will not only help break down sexual barriers, I also
convey something very personal for others and future generations to
share."
Leach says that:
"Artistically I am an uninhibited erotic free spirit that has no sexual
preferences as I am neither man nor woman. I don't really understand it
myself but I believe the male figures I create are hermaphrodite lesbian
rather than gay or transsexual. But I must control my art to a degree as
I leave out all the things that most disgust me like any form of real
violence or abuse."
At the Firenze Biennale Internazionale Dell'Arte Contemporanea in 2003,
art critic John T Spike said, of Leach's 1994 drawing, A Taste of Honey:
"This is erotic art. Christopher Leach has great fun doing these
drawings. He is stronger in the black and white than in the coloured
work. He does erotic drawings a' la Beardsley. Technically fine, he
provokes and challenges with these fetishes."
Leach's art has been shown at the Cannock Art Gallery (1978) (Amsterdam);
at The Gallerie Erotique 'D'Lammerberch (1991); at Annecy (France); at
The Torture Garden (London); and at Southampton and has been published in
six counties in the following publications: Twilight (Berlin, Germany);
Rouge et Noir (Nantes, France); Some Bizarre, (Stockton on Tees, UK);
Unleashed (Leeds, UK); Jade, Scarborough, UK); Paramour (Cambridge
MA/USA); Bitches with Whips (Seattle, USA); Redemption (Vancouver,
Canada); Fullsize (Rhinefelden), Switzerland).
Vicky
- 31.01.2021
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