Fine Art 101

First among the bits I'll put up of my work with other artists is credited to Barbara Nitke. Today's are from her advertising portfolio. I am in a few of these (we have given me the designation "Macground" since I am mostly just presence), but my in-frame co-conspirator and the person to whom you will be giving most of your attention is model and actress Ming Jin. Her devastating make up is by Khush Singh. This set was inspired by the film Lust, Caution, and we shot against the most elegant cargo elevator in NYC.


Barbara and I have been working collaboratively for years on several of her portfolios, and whenever she envisions rope being included as an element in her pieces, no matter how little, we link up. We often seem to end up with more bondage than might have been originally intended (and I frankly can't tell in the end who among us (models included) is responsible for failing to rein it in) but the results have been uniformly fabulous.

Barbara is not a practitioner of rope, but she is a long-time student of BDSM who intuitively understands the same thing I do about its efficacy in collapsing perceptions of space and difference between partners in a scene. Her last book, Kiss of Fire, is is a great chronicle of BDSM in NYC before it came above ground, and reveals Barbara's talent for capturing the spiritually humane, some have even said religious, import of BDSM.


I may say more about these and other of Barbara's pictures I'll post here, but for the time being I'll just let the images do the talking (and the first thing they'll tell you in no uncertain terms is that Barbara owns the copyrights).


Well, I will add that what you're looking at are the raw images, un-retouched by Barbara's considerable expertise in that department. Of the very few images that will actually enter her portfolio these may or may not be among the elect. From this particular shoot, however, these are among my favorites and representative of my continuing interest in Barbara's project.

Who Are You, Really?

The following may or may not have happened not too long ago. If it did, you know who you are.

Me, I didn't recognize myself.

It was not unlike how you often describe the shape of the room when I'm playing with your breath, how the world goes slightly plastic, soft. You flexed like you were being tumbled in the rogue wave I would later describe to you I had become. You levitated out of bed with, it seemed, the aid of but a couple of my fingers and suffered your exhausted body being bound yet again, not slowly, not erotically, but as though engraved by the single piece of still sweat-dampened jute. Your elbows veritably slapped together, your forearms jumped to their usual indigo hue, you gurgled a half-hearted protestation. You were soft, yielding... we both and everything wanted this moment, and gave way to it.

Once your wrists were unlovingly pinioned, you managed a "no..." as your soft world hardened to black. And then it began.

I wrote to you the following words a couple of days later:

"How often does one hear that on the heels of some momentous event or incredible behavior? 'Yes, it was me, but it's like I couldn't even recognize myself...' Unfortunately such words are likely as not to be uttered in a court of law during some sort of criminal proceeding, but the same words are also an acknowledgment of a tectonic shift in perception, for they imply that it's possible to see oneself from without, to see ourselves doing a self we don't recognize, which can only mean that we're having at that moment an experience of pure being."

You already know me a bit this way, this way better than nearly anyone else, really. You've felt that friction in your cheeks before, that heat. This was something else, this was shocking and hurtful and blinding in a way that no blindfold ever blinded. There was a learned force behind that first strike. You gasped four times, you seldom gasp at all unless I'm just giving you breath after a long withholding of it. I'm used to the cane coming down on you - your breath leaves in whimpers and cries, but it doesn't make noise going back in. You staggered under the blow before I grabbed your hair and rounded to the other cheek with concussive energy easily equal to the first. Was that what is called reeling? I wondered if it was the force or the surprise. Probably both.

After a sufficiency of mayhem committed on this face I adore you dropped to one knee, hard. I steadied you from the crown of your head and proceeded to rape your mouth, boring of that shortly and releasing you to fall. Your head missed the trunk by inches - your hair brushed over the corner. That's how quickly everything can go to pieces, but the room flexed for us, wanted this, just as we wanted it.

By one beautifully shod foot I dragged your limp form, squeaking across the parquet, back toward the bed, noting to you how good you were being about keeping your stilettos on. I would not call what I was enacting on you sadism, for I took no pleasure in it. I take no pleasure in beating you, on concentrating my upper body's weight on the business end of some tool or through the palms of my hands.

It's what we do; it's your apotheosis and my abasement.

As I noted to you years ago I am now, with you, a hitter, and uneasy rest the hands from which the gloves have been removed. Would that I were truly sadistic... that I could get off on hurting you.

Leashing you by your hair I lifted you and flipped you back on the bed, crushing your arms. You wormed backward weakly before I grabbed your throat and pressed it to the mattress. Your lips opened and closed silently, maybe you croaked something like a word, I don't know. I held you to the bed with one hand, choking off your resistance, while the other hand found you drenched with want. My still tumescent sex found you quickly and I caused myself some slight discomfort in the violence of my thrusting. When I let up on you you sucked breath and cried out, prompting the insertion of two fingers deep in your throat... and with it the retching. Out and back again, each spasm registering on my disinterested member. Once again to your throat, then in it, then once again a mighty swing and a resonant slap.

I was blind to myself, blind with sweat, berserk with power. I failed to check in, I failed to show up at all. I wondered where I'd gone. It was all so uncalled-for, this savagery. You're never anything but sweet as sugar. There was a long moment when it seemed you might sob, but no. You kept your composure, your dignity, your wits about you... you did not meet me where the ground was slick and unsure. One of us always has to stay present, rooted. You volunteered this time.

Then all the colors changed and it was past.

When I lifted the cloth from your eyes they were brimming with tears and wonder. Though I have beaten you bloody in the past, never have I done anything like this, been anyone like this. I have been on the offensive at times where I get what's going on - a rage propelling an attack properly comported to its object. The fighting me, a me I recognize. No rage this time, not even a mild pique. A calm and deliberate execution of raw blazing will, that's what it was. But whose? Who led this?

I'll be curious to learn if it really did happen, but I'll have to wait until I appear again. If I do you'll let me know and I'll make sure to get a good look next time.

Leading Question

Starting not from the beginning, but rather where I think my answers start to take on some interest, here is where my scholarly interlocutor's little bit of knowledge became a dangerous thing:

• How do you negotiate the consent and boundaries of 'safe, sane, and consensual' with your partner?

Like an increasing number of my fellow travelers, I do not believe in safe kink. I would go so far as to say that the mere idea of safety partially compromises the allure, efficacy and possibilities for discovery in kink. One of the fundamental notions that is therefore understood from the very beginning of any interaction is that what another person and I are proposing to participate in with one another is inherently unsafe; let us not labor under any delusions to the contrary. If we're having this type of conversation in the first place, plain-spoken acknowledgments of danger lurking among our intentions usually ups the excitement level that much more.

The word "sane" I consider a bromide and a palliative, and as an truthful assertion pertaining to anything to do with BDSM ascertainable only a posteriori. In fact, if someone feels compelled to assert to me their sanity, said sanity is thereby immediately suspect in my book.

Consent is perhaps the only term I consider meaningful of the three above. Consent emerges not from anything like a call-and-response-type exchange ("It is my intention to tie you up now." "That would be agreeable."), but from the feeling of trust, faith and mutual advantage discovered endogenously in the consideration of something possibly unsafe and, in a conventional sense, of questionable sanity. With time and the understanding that the person I am with will do me no harm, consent abides whatever it is that we determine we would like to do.

An example: a current partner and I are very fond of breath control play. We have never negotiated it, and it has evolved over many months to a fairly pitched and risky degree. It's beginnings were humble enough - I had gagged her very thoroughly and she had experienced trouble breathing. I rearranged things a little more to my liking (and comfort level), but none the less effectively, and we had a very nice scene. It was not until I mentioned the severity of the gag that she was prompted to tell me that she had found her gasping for breath very exciting, much to her surprise. We are now somewhat expert in a variety of ways of controlling her air supply, and she finds them all very much to her liking. Not safe, questionably sane, adventitiously consensual, and, as it turns out, one of our favorite things.