Transgender 101
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Transgender Artist Kinky Jimmy free porn video
Transgender Artist Kinky Jimmy
Copyright 2009 by Cal Y. Pygia
The artwork of Kinky Jimmy (a pseudonym for Ken Jeremiassen, a Norwegian
freelance illustrator who specializes in fantasy and erotic art) is all
over the Internet. Well, not everywhere, really, but it is on a number
of websites; it's easy to find. A skilled illustrator in the same league
as Kimberly Wilder and Christopher Leach (both of whom I've written about
in other articles), Jimmy's style is rather like that of the pinup
artists of the past. His transsexual characters resemble the women drawn
and painted by the likes of Rolf Armstrong, Joyce Ballantyne, Mark
Blanton, Gil Elvgren, George Petty, Mel Ramos, and Alberto Vargas,
except, of course, Jimmy's chicks have dicks. Most of his work (as it
appears on the Internet, at least) is untitled, which requires that, to
be discussed, it be described rather than simply named.
Those pieces which do bear titles suggest some of the nature and scope of
his transgender art: Christina's Mommy (shemale dominatrix), Muscle
Bound (Xena-like shemale Amazon warrior), Sacrilege (a shemale bride's
deflowering of a nun; described later in this article), Cat Fight (a
wrestling match between two erect shemales), Pleasure Bound (a hogtied
shemale in a BDSM scene), Boudoir Babe (a shemale in a pink corset and
black leather thigh-high boots), From Behind (a shemale in position on a
bed, waiting to be taken "from behind"), Famous Friends (celebrity
shemales), Dark Meat (exceptionally well-endowed African-American
shemale), Big Heart (a shemale with a large cock and huge breasts
standing over a woman with small tits), and More Famous Friends
(celebrity shemales who bear a close resemblance, in this case, to Paris
Hilton and Britney Spears).
As is the case with most artists' work, some recurring features of
Jimmy's art stand out, as signatures, as it were, of his illustrations.
His shemales all have boobs of a respectable size; truly monstrous,
usually uncircumcised, cocks; and baseball-size testicles.
Many of Jimmy's shemales, or "hermaphrodites," as he also calls his
intersex figures, pose as individual models, some having ejaculated upon
themselves; others are part of male-shemale or female-shemale couples.
In one picture, a seated brunette shemale, shown in full color and
wearing a collar and a pair of mesh stockings, grasps her sizeable balls
as a substantial erection rises before her tummy, pointing to her ample
breasts. From her chin and breasts, drips the semen of another shemale,
who appears only as a shadowy figure, standing before the full-color,
collared tranny. The shadowy shemale's penis is erect; her head and
lower legs are not shown. Is the shadowy figure really present at all,
or is she a dream girl, a figment of the other's imagination? Perhaps
the full-color transsexual has masturbated to the fantasy of orally
servicing another of her kind, and the semen that drips from her face and
breasts is her own.
If not, and the shadowy figure is really present, perhaps Jimmy's intent
is to focus his viewer's attention upon the partner who has been
ejaculated upon, rather than the shadowy figure who has ejaculated,
suggesting that, for both the seated shemale and the viewer, what is
significant is not the ejaculating party but the one who receives the
ejaculate. Orally servicing another individual and receiving his or her
semen is what matters, such a reading implies, for it is the fellatrix
who is made feminine in the act of fellatio: to suck cock is to cast
oneself in the feminine role; to be sucked is to adopt the masculine
role. The presence of semen in one's face or on one's tits is
confirmation of one's femininity as a shemale.
In another of Jimmy's works, a shemale, the top of her red slip lowered,
to reveal her right breast, down to its nipple and, at the same time,
ridden up, above her hips, to show her thighs, her erect cock, and her
balls, half-lies, supine, in an armchair, her raised legs spread, the
left thigh of which she holds back. Wearing, besides the slip, only
sunglasses and a pair of black high-heeled shoes, she grasps her cock in
her fist. Jimmy's portrait has caught her, as it were, at the precise
moment when orgasm gives way to ejaculation, and semen erupts from her
erection.
What is most interesting, perhaps, about this picture is the fact that
both the armchair in which the figure lounges and the cartoon-style
thought balloon above her head (filled with three exclamation points) is
outlined, rather than fully delineated, in white, as if these items are
themselves part of the figure's ejaculate. Perhaps this intriguing
depiction of the figure's emotion (as it is represented in the thought
balloon) and the armchair in which she masturbates as made of semen is
meant to suggest that the sole purpose of the chair (and her psyche), at
this moment, at least, is to provide a platform for the release of her
sexual tension. It is, after all, we who give meanings to things, and
such meanings can, and do, change from one moment to the next. During
masturbation, a chair (and a mind) may serve only to serve the needs of
the body. In such cases, rendering them as tentative objects made, as it
were, of the very semen that one ejaculates drives home the point that
they are no more substantial than their momentary (and changeable)
purposes.
Some of Jimmy's paintings simply depict transsexuals in a straightforward
manner, as if they were models posing for portraits. In one, a blonde
with full, firm, round, high tits and flowing hips has loosed the ties
that joined the front of her leather trousers, thereby revealing a
gargantuan erection, jutting from her hairless groin, above a pair of
large, if somewhat indistinct balls. Another picture shows a brunette
tranny, dressed in an open blouse, a black fishnet camisole, and a
matching pair of black fishnet stockings. She clutches a fine specimen
of manhood in her right fist with enough force to suggest she seeks to
strangle the rigid, rearing organ. Most of Jimmy's shemales are
Caucasian, but he has also drawn and painted a few trannies of other
ethnicities. Many of these portraits seem to suggest that being
transsexual is a sufficient condition, or state, in and of itself, to
merit portrayal.
However, other illustrations may make a political statement. One
portrait shows a figure who displays an obvious, but exotic, mix of
Caucasian and African-American features. A delightful combination of
contraries, her union of opposites becomes a declaration of human and
sexual equality.
Her small breasts are sexy foils, as it were, to her oversize cock and
balls. The hair on her head is long and straight, and contrasts
dramatically with the kinky hair that adorns her pubes. Her arms are
raised and her hands are behind her head. Her skin tone is highlighted
by the open white blouse which, covering her arms and shoulders, hangs,
like a drape, behind her back. Her right leg is lifted and bent sharply
at the knee, while her right thigh is straight, a posture that reveals
the strength of the muscles beneath the smooth contours of her thighs and
claves. She is a beautiful woman, but, beneath her sleek, feminine
exterior, lies a strength that may not be readily apparent, especially
when she is fully clothed.
The mix of strength and beauty, of power and grace, of virility and
femininity is a heady combination of contrasting qualities synthesized in
a Caucasian-African-American unity that defies both race and sex and a
tribute to the ideal of multiculturalism and political, social, and
sexual equality.
Jimmy also draws and paints fantasy transsexuals. One is of a
prehistoric-looking, straggle-haired brunette vampire with cloven feet
and a serpent-like tail. Dressed in a leopard skin, with chains hanging
from the nipples of her ample breasts, her snake-headed tail winding
about her left arm, she clutches a staff or scepter carved with miniature
heads, one atop the next, totem pole-fashion; a pair of phalli jut from
below the chin of the lowest face. The seat of her garment is torn out,
to reveal her buttocks and the uncut cock and pair of balls dangling
between her thighs. What Jimmy intends this picture to represent is
anyone's guess, but, certainly, this is a creature that one would not
care to meet in a cave or anywhere else.
In a few other fantasy pieces, Jimmy executes transsexuals whose penises
are of a size that would be incredible even for Harry Reems or Long Dong
Silver. In one, of a blonde shemale, for example, her testicles are the
size of baseballs, and her erect penis, as thick as both her arms, rears
to the level of her shoulders. It shoots quite a load, too, judging by
the bukkake quantity of semen that has splattered her face, upper arms,
breasts, belly, and hips.
Jimmy also portrays sex acts, of course, in his art--mostly fellatio and
anal intercourse, since his illustrations' and paintings' personae are
transsexuals and transvestites. In one such drawing (Sacrilege), a groom
is shocked to walk in on his shemale bride while, still in her bridal
gown, the skirts of which she has hiked above her hips, she fucks a nun
in her ass, their lovemaking taking place, according to the background,
inside the very church in which, presumably, the shemale bride was just
married. This drawing, like some of the others by Kinky Jimmy,
attributes copyright to Ken Jeremiassen, Jimmy's real-life alter ego.
Another painting--or painted illustration--shows twin African-American
shemales. They stand close beside one another, hands around one
another's waists, gargantuan cocks, as thick as their legs, rising to the
height of their heads, their baseball-size testicles ejaculating an
impossible quantity of semen. Their sperm splatters their faces, necks,
and breasts, while, the latest, if not the last, spurt from each cock
collide in midair above their erections, as if they are one in essence,
as they are one in their sisterhood as shemale twins.
Many of the artist's works have been collected in his first book,
Gorgeous. . . and Hung!?, which is described as "a pin-up book of
deliciously endowed females" who are "gorgeously painted," in poses
depicting "raunchy action between she-males" who resemble "beautiful
girls with huge tits, round asses and shlongs with. . . Balls [big
enough] to make a bull proud."
Note: Both Kimberly Wilder and Christopher Leach are themselves
transvestites. As far as I know, although his artwork centers upon
transsexual and transvestite characters and situations, Kinky Jimmy
himself is neither a transsexual nor a transvestite.
Libbie
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