Linden Hudson - Raylene (2012)
Julien K - Kick The Bass (2009)
7 June 2012
CLOTHING FETISH
Clothing Fetish, or Garment Fetish, is a sexual fetish that revolves
around a fixation upon a particular article or type of clothing,
a collection of garments that appear as part of a fashion or uniform,
or a person dressed in such a garment.
The clinical definition of a sexual fetish would require
that a person be fixated on a specific garment to the extent
that it exists as a recurrent (or exclusive) stimulus for sexual gratification.
One who exhibits a clothing fetish may be aroused by the sight
of a person wearing a particular garment, or by wearing
the garment oneself which can be because of the look one
achieves by wearing it or the way it feels while it is being worn
(and might also get some arousal by seeing
somebody in it and imagining how it feels).
In later case arousal may originate from the way its
fabric feels or from the way the garment feels and functions as whole.
Others with a clothing fetish may be aroused by the
sight of such garments, even without wearing them
and in the absence of other person wearing them,
and may also derive pleasure from collecting them.
Video by: George P. Traikos - Venus In Furs (2012)
Music by: George P. Traikos (Black Orange) - The Myth (2008)
Model: Lady Athin D.
EXHIBITIONISM
Exhibitionism refers to a desire or compulsion to expose parts
of one's body, specifically the genitals or buttocks of a man or woman,
or the breasts of a woman, in a public or semi-public circumstance,
in crowds or groups of friends or acquaintances,or to strangers.
Exhibitionism is not automatically a compulsion, but some people
do have a distinct psychological tendency to sexually expose themselves,
whether it is to "flash" (the nonthreatening form)
or to "indecently expose" (the threatening form).
When it is a compulsion, it is a condition sometimes called apodysophilia.
Video by: George P. Traikos - Vivid Shades (2012)
Music by: George P. Traikos (Black Orange) - Mandarine (2006)
Model: Olga Snow
SADOMASOCHISM
Sadomasochism broadly refers to the receiving of pleasure
from acts involving the infliction or reception of pain and humilation.
The name originates from two authors on the subject, Marquis De Sade
and Leopold Von Sacher- Masoch.
A subset of BDSM, practitioners of sadomasochism usually
seek out sexual gratification from these acts,
but often seek out other forms of pleasure as well.
Video By: George P. Traikos - Bleeding Moon (2012)
Music By: George P. Traikos (Black Orange) - Way To The Top (2006)
Model : Anna Markivich.
19 November 2011
LOU TILLY
Lou Tilly from London, UK, is currently finishing a BA in Digital Video at University of Creative Arts. She enjoys scriptwriting as much as acting.
www.vimeo.com/loutilly
www.vimeo.com/loutilly
Lou Tilly - In Parenthesis (2011)
DANCE WORKS ROTTERDAM - LIBIDO
LIBIDO searches for the essence of human sexuality. The performance will act as a document which traces the different desires, experiences, behaviors and habits of three individuals on stage: provocative, extreme, uncensored and courageous. LIBIDO addresses our basic animal instincts – our aggression, our need and our desire to prove we exist and will continue to do so.
'How do we make contact?' is the question posed by 'Libido,' a 60 minute opus created in 2010 by David St. Pierre and Andre Gingras for Dance Works Rotterdam.
LIBIDO is a co production of Dave St. Pierre en St. Gingras in collaboration with Dance Works Rotterdam.
Supported by the Performing Arts Fund NL
The setting of this psycho-drama is a grim space somewhere between a warehouse and a slaughterhouse, the protagonists nude dancers Vincent Morelle and Sylvia Camarda, both looking vulnerable in this unforgiving milieu. These two characters proceed to push frustratedly at the limits of sex without reaching even the frontiers of mutual understanding.
Looking as if his very flesh has been forged in blood and fire, Morelle gives an unrestrained and technically dumbfounding performance, at one point scrabbling manically on his back like a wounded insect. He creates the sense of a man who, for all his force and energy, is unable to connect, to grasp what is in front of him - fated not only to see it slip out of his hands, but from under his feet as he slithers and slides through his performance. Even the act of crouching on all fours on a trestle table is, for him, somehow precarious and full of potential pitfalls.
Harried by Morelle, Camarda yet carves out moments of stillness. We see her sitting, pale and lovely, on the table, as serene as a young naked Buddha. Unlike Morelle, she never seems to lose her footing. Even when the two men spin her like a bar of soap, you feel as if their efforts to dislodge her poise are ultimately futile.
Yet there is an irony. For all their sense of mutual alienation, Morelle and Carmada are caught together in the same spreading bubble of oil, sweat and blood. Literally mirroring their contortions, the shimmering, liquid floors remind us of their common humanity. Similarly, references to various bodily orifices and excretions serve to suggest that the flesh itself can never be totally sealed off and enclosed, whatever the state of our hearts may be.
While the material itself may be troubling and problematic, 'Libido' is thoroughly exhilarating as a demonstration of the expressive powers of the performing nude. There is an almost iconic power in the moment when, bloodied knives in hand, Camarda straddles the fallen Morelle and allows her body to morph luxuriously through a series of preying-mantis poses. That she can play this scene masked is an act of bravura, an assertion that the unadorned flesh has come of age as a storyteller.
Supported by the Performing Arts Fund NL
The setting of this psycho-drama is a grim space somewhere between a warehouse and a slaughterhouse, the protagonists nude dancers Vincent Morelle and Sylvia Camarda, both looking vulnerable in this unforgiving milieu. These two characters proceed to push frustratedly at the limits of sex without reaching even the frontiers of mutual understanding.
Looking as if his very flesh has been forged in blood and fire, Morelle gives an unrestrained and technically dumbfounding performance, at one point scrabbling manically on his back like a wounded insect. He creates the sense of a man who, for all his force and energy, is unable to connect, to grasp what is in front of him - fated not only to see it slip out of his hands, but from under his feet as he slithers and slides through his performance. Even the act of crouching on all fours on a trestle table is, for him, somehow precarious and full of potential pitfalls.
Harried by Morelle, Camarda yet carves out moments of stillness. We see her sitting, pale and lovely, on the table, as serene as a young naked Buddha. Unlike Morelle, she never seems to lose her footing. Even when the two men spin her like a bar of soap, you feel as if their efforts to dislodge her poise are ultimately futile.
Yet there is an irony. For all their sense of mutual alienation, Morelle and Carmada are caught together in the same spreading bubble of oil, sweat and blood. Literally mirroring their contortions, the shimmering, liquid floors remind us of their common humanity. Similarly, references to various bodily orifices and excretions serve to suggest that the flesh itself can never be totally sealed off and enclosed, whatever the state of our hearts may be.
While the material itself may be troubling and problematic, 'Libido' is thoroughly exhilarating as a demonstration of the expressive powers of the performing nude. There is an almost iconic power in the moment when, bloodied knives in hand, Camarda straddles the fallen Morelle and allows her body to morph luxuriously through a series of preying-mantis poses. That she can play this scene masked is an act of bravura, an assertion that the unadorned flesh has come of age as a storyteller.
Dance Works Rotterdam - Libido Trailer (2010)
ZOLTAN KRASZNAI
Using the unlikely name of "Mrs Herskin" for their accessory line, two Hungarian designers, Orsolya Poppre and Larisza Pasztircsák, commissioned fellow countryman Zoltan Krasznai to helm their first fashion film. After several years of traveling around the world as a professional tennis player he decide to pursue his education at Montana State University, Bozeman MT , USA where the surprising choice of his first photography course partically changed his life.He's currently living and working in Budapest as a fine art , fashion and advertising photographerattracting a wider audience with his fresh, experimental but always higly sophisticated approach.
Zoltan Krasznai - The Six Deadly Sins of Mrs Herskin (2011)
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