Parallel lines intersect, forming a diamond at the center. II is now X. This form lets us travel diagonally through space. One needs divination and shapeshifting for this kind of journey. I absorbed a triangular wave. Under the Pisces moon, I sipped from the cup. A tiny fraction of 360 Aquarius, a Kayayei, and the water porter, is playing live. Let’s toast to the lunar. It’s an old-time oracle. I use my geomantic knight on the synth console to twist the central square into a pyramid on the chessboard, bending the surrounding space. The sixty-four Yoginis from the eight phases of existence create a cosmic tapestry that illustrates awareness and extinction.
Through the checkered board, we can explore a chart of our interior states. Intertwined black and white squares represent yin and yang. This visual diagram has the ability to analyze and interpret events from different time spans. We are connecting. As a hand, claw, fin, hoof, wing, and tentacle united on a holiday to a foreign atmosphere. By being able to transform into different shapes, we plan to discover a new place to thrive, eat, and reproduce. Our honeymoon is amazing at the moment. With heightened senses working in perfect harmony. Each optical sense is a precious asset to detect whatever objects may be drifting in this void. Apps mimic snake pupils and cat eyes enhance night vision.
If we find nothing on that app, we activate a bat signal to identify what we overlooked. To combat boredom, we listen to the old fashion whale songs. There is plenty of room in the universe for invisible radio waves. We notice how unconscious shifts affect our awareness. Giving up vanity was my toughest astronaut challenge. Self-esteem improved by breaking free from consumerism. We practice Buddhism without a figure. The fading of charged particles into space is called “death”. Numbers are eternal, so we will test how long we can remember them. I am coming forward from within my ego to assert the words that I have spoken before the update. This is a hallucinatory voice. We get it, there’s no true self, but we are always expanding who we are.
For better well being, we are abandoning past programs that slowed our progress. The current speaker is about to stop speaking. Once we reach our destination, we intend to leave a circle. This storyline will trigger déjà vu and create a memorable mental image for the replicas.
001: the sun 41.0×31.8cm watercolor on paper 2017 002: Sea Fruit 41.0×31.8cm watercolor on paper 2025 003: Melancholia 35.0×26.0cm Sumi-ink, natural pigments and glue on Washi paper 2018 004: bodyscape 9 45.5×45.5cm Sumi-ink and my body on Washi paper 2025 005: Untitled watercolor on paper 2005 006: Rosescape magicboard Φ28.8cm watercolor on paper 2023
My favorite Bravo pink pen drawing is the 2017 Neon Bubble Butt. I find it enjoyable because the curvy female buttocks are a universal icon of beauty and perfection. It’s a fixed shape drifting in space. Just as helium makes things float and feel light, the drawing has a whimsical, festive quality to it. This drawing makes me think of how ideas can lift your spirits.
Juan Carlos Bravo, a Miami artist, is all about sensuality in his art. Miami is a melting pot of cultures, fashion, and the adult film industry. The sensuality in Bravo’s art makes it a favorite among collectors. He paints voluptuous women who embody an ageless ideal of sex appeal.
Surrealism, body horror, and pop culture blend to create the world of Bravo’s women. His art inspires viewers to examine their own primal instincts and their significance.
“GLORIOUS” (2025) JC Bravo
In this intimate scaled ballpoint pen drawing, I return once more to the private theater of the bedroom, a liminal space where desire, memory, and mortality quietly collide.
At the center kneels a voluptuous woman, her impossibly long red hair spilling like wine across her body, an oneiric cascade that measures both time and temptation. She raises her arms in a gesture of languid surrender, unaware, or perhaps deliberately unseeing, the woman wearing a jeweled Mardi Gras mask that transforms her into a carnival Venus. Thigh-high stockings, striped in defiant rainbow colors, root her to the earthly even as the rest of her body dissolves into roseate light. On the bed beside her, a cat and perennial guardian spirit, sits in calm, wide-eyed judgment, the only creature in the room who truly sees everything.
Above them hangs a gold framed erotic painting, its subject bent in mirror-image submission, a quiet reminder that every act of looking is also an act of being looked at. And in the lower right corner, half-hidden beneath the sheets, grins a human skull, my memento mori. It is not a threat but an invitation: remember that you will die, so love fiercely, look shamelessly, touch without apology while flesh is still warm and hair still grows.
The entire scene is drenched in an artificial pink and magenta glow, the color of stage lights, fever dreams, and cheap motel neon, a hue that makes the skin feel simultaneously hyperreal and hallucinatory. Through this saturated lens, the everyday becomes ritual, the intimate becomes mythic, and a simple moment of morning undress is revealed as a dance on the edge of oblivion.
Bravo paints the human body with anatomical precision. He features both realistic bodies and integrates stylistic elements reflecting augmentation. Technical detail is a priority in his work. He’s passionate about oil painting and uses a pink pen for his drawings.
Philip Henderson
Tyra Philip Henderson
Among Henderson’s many drawings, I like Tyra the best. The figure’s eyes hold my attention. I think she saw me looking at her hand. I can tell she’s aware of my attraction through her gaze. The outline of her body forms a simple path, gently sloping from breast to thigh. Her hair almost blends with her pubic hair, but a delicate crescent shape separates them above the mons pubis. Tyra’s arm movement guide your eyes across her body. In Henderson’s artwork, eye contact and pose combine to create a feeling of empathetic sex appeal.
Curvy fetishes play a significant role in the themes of Philip Henderson. His plush illustrations create an arresting experience for the viewer. Henderson celebrates the value of curvy women. Henderson’s book, “Extreme Curves and Phat Girls”, achieved international success.
Besides his erotic illustrations, Henderson is a gifted writer of essays, novels, and poetry. He achieves elegance through his scholarly, artistic style. Henderson avoids abstraction in his anatomical figures while blending idealism and realism, creating a believable fantasy. He portrays natural grace and confidence in his figures, excluding any cosmetic enhancements.
Angélique Danielle Bègue
Deni d’humanité, published in Angélique Danielle Bègue‘s 2009 book, Dans Mon Corps.
Bègue’s 2009 work, Dans Mon Corps, includes “Deni d’humanité,” a piece with a prophetic theme. In the image, AI’s exploitation disrupts the natural flow with sexual intrusion. This image illustrates AI replicating itself using humans. Her art shows how the excitement around AI is really just more of the same old ways of controlling us. Bègue’s work examines the way narrative influences our understanding of what’s real and imagined. I appreciate looking at this image because it makes me question the idea of human originality and imitation.
French painter Angélique Danielle Bègue’s artistic career started with tempera, apprenticed at Gorze Priory by an Orthodox nun. A classic style is the vehicle for Bègue’s modern concepts. France acknowledges her contribution to the revival of tempera painting. Bègue’s professional experience includes erotic modeling.
An icon painting from my dear friend Angélique Danielle Bègue from France.
In her figurative art, Bègue merges a traditional religious style with contemporary themes. Her artwork uses vibrant tones, layers, and bold lines. Bègue’s iconic graphic design employs strategic contrasts to create visual balance and proportion. She uses painting to express her internal fantasies. Bègue dedicates herself to understanding sexual fantasies and how to approach topics society deems taboo.
Miriam Cahn
ÄffinMiriam Cahn
Äffin’s unsettling nature is thought-provoking to me. Simian aspects of the image contribute to its dreamlike quality while exposing a liminal personality. The skin is smooth around the breasts but gets hairier and tactile near the pelvis. The vulva is a fiery bush, sparking primal metaphors. This work compels me to explore the roots of human consciousness and how language shapes our understanding, including our desires. It suggests to me that the ideas of elegance and ugliness are mental constructs. The intense emotion evoked by this painting stems from Cahn’s ability to communicate deep thought through candid visual images.
Swiss artist Miriam Cahn paints in a Neo-post-expressionist style. Her art reflects the movement’s style through her figures, colors, and emotional expression. Cahn’s work often features spectral figures with watchful eyes. Viewers become the subjects of the gaze of the eyes in her paintings.
Cahn’s paintings are vibrant and full of bright pastel colors. She discovers new things about herself through painting. With raw concepts, she develops a visual vocabulary for emotions. Her paintings are unpolished and invite the viewer into a world that’s flawed.
Viktor Alexandrovich Lyapkalo
Viktor Lyapkalo
The reason I like Lyapkalo’s paintings is his choice of female subjects. It’s that simple. I’m attracted to curvy women, and his artwork features them. This painting captivates me in every way. The man, cat, and samovar create a muted, somber atmosphere, in contrast to the woman. Her lively body seems to glow with light and color. She’s appealing because of her open and generous nature, which brightens the room. Lyapkalo’s representation of the smile has a seductive effect on the viewer. The piece illustrates the duality of affection, showing both its open and concealed aspects.
Russian artist Viktor Lyapkalo paints in a strong social realist style. His paintings of women are sensual and playful. Lyapkalo’s skill with figures and academic paintings is the key to his success. His artwork portrays the emotion and character of the people he paints.
During my interview with Lyapkalo, he compared painting skin to an onion flower, highlighting its multi-hued nature. This is evident upon closer examination of the colors used in the artist’s depictions of nude women.
Pablo Picasso
Avant-Garde Magazine, No. 8. Picasso’s Erotic Gravures Pablo PicassoArtist and his model 1969
This image remains my most memorable. In sex, artist and model become unified. I am drawn to this picture because it features both intercourse and a suggestive representation of the sexual act through the artist’s palette. As a flawless masterpiece of line, this image is everlasting.
I found Avant-Garde Magazine, No. 8. Picasso’s Erotic Gravures on my parent’s bookshelf. It was between Anaïs Nin’s “Delta of Venus” and Louise Huebner’s “Power Through Witchcraft”. For a kid stuck reading boring schoolbooks, I finally stumbled on something cool.
The thin book, Picasso’s Gravures, contained his sexually suggestive sketches. Picasso’s drawings are gestural. His lines make his art look like it’s being fondled. Many illustrations displayed surfaces marred by hairiness, crinkling and stretch marks.
The lines create a curious interplay of dryness and wetness. Picasso’s suggestive drawings in the 1970s opened the door for other artists to explore explicit themes. He owned a collection of sixty-one Shunga prints. Picasso’s interest in Shunga is a key theme in the chapter “Artist and his Model”.
An example of eighteenth- and nineteenth-century shunga
“A lot of the eighteenth- and nineteenth-century shunga books contain enlarged images of male and female genitals, occasionally while engaged in the sexual act. These kind of ‘close-up’ designs were intended to provide instruction about anatomy and how to give pleasure. These educational images are mostly found immediately following the other illustrations in shunga books. Such prints are modeled after older versions that were used to teach human anatomy, which showed different shapes of male and female organs.” -Marijn Kruijff, Editor of Shunga gallery Erotic Art Magazine and is the foremost authority on shunga art.
J’évolue dans le monde des arts plastiques , de l’expression corporelle et dans le milieu alternatif parisien depuis très jeune . J’ai donc exploré diverses techniques et directions : peinture , photographie , dessin , graphisme , video , danse et travail sur le corps.
Depuis ces 15 dernières annnées , j’ai fait des expositions et performances en France et quelques collaborations qui m’on ouvert de nouveaux horizons. Il y a un moment ou j’ai glissé de la peinture et de la representation du corps à la mise en scène directe des corps et des ames à travers la photographie , le corps au sens large comme moyen d’expression.
Il m’est rapidement venu un questionnement sur mon propre érotisme face aux archetypes simplifiés et imposés par la société de consommation. Durant des siècles d’histoire de l’art , les femmes ont été enfermées dans le rôle de sujet de fantasme érotique , mais empechées dans l’expression de leur propre érotisme loin des attentes sociales , ce qui explique le fait que toute une génération actuelle parte dans cette direction à la suite des pionnières du siècle dernier.
Dans la jouissance esthétique et tactile de la matière , j’y trouve une relation au spirituel dans le monde des fantasmes qui ouvre une porte à la fois physique , énergetique , psychologique et mystique . La sensualité comme acte quasi religieux , la sensualité comme prière.
Mes influences profondes dans la démarche et l’esthétique sont clairement celle des suréalistes ( dont certains pionniers qui ont abordé l’érotisme du fétichisme ) Etant de la génération de1976 , j’ai été aussi très influencée par la vague rock punk goth newwave des années 80 et j’ai été jeune ado et jeune adulte dans les années 90 pendant l’emergeance des mouvements technos sauvages. Les attitudes des femmes de la scène rock comme Lydia Lunch par exemple ( parmis beaucoup d’autres ) ont clairement ouvert la porte à ma generation. C’est aussi dans ce monde rock notament gothique et new wave que j’ai decouvert très jeune mes tendances au fetichisme et aux mises en scène BDSM.
Dans la photographie , les artistes comme Robert Mapplethorpe me parlent beaucoup , le fait d’aborder des sujets parfois crus ou qui peuvent paraître provoquant mais dans un style presque academique pour un rendu raffiné , les photographies de sexe ou de fleur y sont representé avec la meme sensualité , ramenées au meme niveau.
En ce qui concerne la littérature , je citerai ‘ L’histoire de l’oeil ‘ de Georges Bataille , ‘incontournable ..Les oeuvres d’Henry Miller m’interessent beaucoup , j’y retrouve cette errance hedoniste , urbaine ou se melent sexualité et philosophie ‘ King kong théorie ‘ de Virginie Despentes est également un de mes livres de chevet , je le considère comme le livre de ma génération en ce qui les femmes et leur sexualité face à la société . Mon autre influence est bien évidement l’érotisme asiatique , en particulier japonais , les classiques comme ‘ L’empire des sens ‘ par exemple , le shibari ( le bondage japonais ) , le coté rituel et très martial dans la mise en scène de l’eros.
Mitchell Pluto 