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12:00 pm

Model: Victoria

PERIHELIO

"PERIHELIO"

The greater proximity between pleasure and pain, asymptotic neurotransmitters that make synergy, the divinity in its basic molecular expression.

Model: Clover

Nature and the castration (fall) of Adam

"Nature and the castration (fall) of Adam"
Pencil and golden ink on paper 35X24 cm

EXQUISITE CORPSES WITH BERNARD DUMAINE

Pencil on paper.


"Among Surrealist techniques exploiting the mystique of accident was a kind of collective collage of words or images called the cadavre exquis (exquisite corpse). Based on an old parlor game, it was played by several people, each of whom would write a phrase on a sheet of paper, fold the paper to conceal part of it, and pass it on to the next player for his contribution.

The technique got its name from results obtained in initial playing, "Le cadavre / exquis / boira / le vin / nouveau" (The exquisite corpse will drink the young wine). Other examples are: "The dormitory of friable little girls puts the odious box right" and "The Senegal oyster will eat the tricolor bread." These poetic fragments were felt to reveal what Nicolas Calas characterized as the "unconscious reality in the personality of the group" resulting from a process of what Ernst called "mental contagion."

At the same time, they represented the transposition of Lautréamont's classic verbal collage to a collective level, in effect fulfilling his injunction-- frequently cited in Surrealist texts--that "poetry must be made by all and not by one." It was natural that such oracular truths should be similarly sought through images, and the game was immediately adapted to drawing, producing a series of hybrids the first reproductions of which are to be found in No. 9-10 of La Révolution surrealiste (October, 1927) without identification of their creators. The game was adapted to the possibilities of drawing, and even collage, by assigning a section of a body to each player, though the Surrealist principle of metaphoric displacement led to images that only vaguely resembled the human form."

"Dada & Surrealist Art," by William S. Rubin

"Sewing ladies in bondage dreams"

Aprilis

Ink and watercolor pencil on pape. 30X35 cm

April comes from the latin verb "aperire", meaning to open, because in this month is when the earth opens later will bear fruit.

Some antiquarians, as well as Ovid in his poem on the Roman calendar, provide an alternate derivation from Aphrodite, the Greek counterpart of Venus whose festival began the month. Apru might be derived from the conjectured Etruscan form of the name, which would be Aprodita, but among the Etruscans, the month was called Cabreas. Some modern linguists derive Aprilis from Etruscan Ampile or Amphile, based on a medieval gloss, conjecturing an origin in the Thessalian month name Aphrios. An Indo-European origin has also been proposed, related to Sanskrit áparah and Latin alter, "the other of two", referring to its original position as the second month of the year. Varro and Cincius both reject the connection of the name to Aphrodite, and the common Roman derivation from aperio may be the correct one.

In the latter years of Nero's reign, the Senate briefly renamed April Neronius in his honor.

Metzti. Ink on paper. 2013

In Mexican mythology is the name given to the god who became the goddess of the moon. In Native American cultures native deities were associated with environmental elements. The image of the supreme deity was represented, in some cases, by the Sun, and the female figure, by the Moon. The list of names is nothing strange in the different indigenous cultures, and he was associated a pet snake in her stomach that carried water from the sky.

LA GRAN PUTA

La puta, la gran puta, la grandísima puta, la santurrona, la simoníaca, la inquisidora, la torturadora, la falsificadora, la asesina, la fea, la loca, la mala; la del Santo Oficio y el Índice de Libros Prohibidos; la de las Cruzadas y la Noche de San Bartolomé; la que saqueó a Constantinopla y bañó de sangre a Jerusalén; la que exterminó a los albigenses y a los veinte mil habitantes de Beziers; la que arrasó con las culturas indígenas de América; la que quemó a Segarelli en Parma, a Juan Hus en Constanza y a Giordano Bruno en Roma; la detractora de la ciencia, la enemiga de la verdad, la adulteradora de la Historia; la perseguidora de judíos, la encendedora de hogueras, la quemadora de herejes y brujas; la estafadora de viudas, la cazadora de herencias, la vendedora de indulgencias; la que inventó a Cristoloco el rabioso y a Pedropiedra el estulto; la que promete el reino soso de los cielos y amenaza con el fuego eterno del infierno; la que amordaza la palabra y aherroja la libertad del alma; la que reprime a las demás religiones donde manda y exige libertad de culto donde no manda; la que nunca ha querido a los animales ni les ha tenido compasión; la oscurantista, la impostora, la embaucadora, la difamadora, la calumniadora, la reprimida, la represora, la mirona, la fisgona, la contumaz, la relapsa, la corrupta, la hipócrita, la parásita, la zángana; la antisemita, la esclavista, la homofóbica, la misógina; la carnívora, la carnicera, la limosnera, la tartufa, la mentirosa, la insidiosa, la traidora, la despojadora, la ladrona, la manipuladora, la depredadora, la opresora; la pérfida, la falaz, la rapaz, la felona; la aberrante, la inconsecuente, la incoherente, la absurda; la cretina, la estulta, la imbécil, la estúpida; la travestida, la mamarracha, la maricona; la autocrática, la despótica, la tiránica; la católica, la apostólica, la romana; la jesuítica, la dominica, la del Opus Dei; la concubina de Constantino, de Justiniano, de Carlomagno; la solapadora de Mussolini y de Hitler; la ramera de las rameras, la meretriz de las meretrices, la puta de Babilonia, la impune bimilenaria tiene cuentas pendientes conmigo desde mi infancia y aquí se las voy a cobrar.

Intrucción "La gran puta" por Fernando Vallejo

PORNOFRACTALES II

PORNFRACTALS / PORNOFRACTALES

PORN IS DEAD

Times have most definitely changed since the 70s, when British and American feminists went out in groups to throw paint-filled eggs at cinemas that dared to screen pornographic films, as a demonstration against the objectification of the female body within this genre.

After years of deep-throat, fat men with fat moustaches and an overdose of close-up shots, porn is experiencing a long-awaited revolution, where a flocks of feminists, influenced by the punk movement, have decided to set their own rules and film their own films, avoiding tired clichés. This is Post-porn.

In recent years, collectives have sprung up all over the place. Girlswholikeporno, Go Fist foundation, Pornoterrorismo and PornoLab are all up for showing that porn can be a political stance, a space to play with new sexual identities and forms of desire. For this reason, they have filmed their own blue movies, out with old skool and in with the new; new roles, new fetishes and new fantasies.

Two books have recently come onto the market which explore and dissect this phenomenon. Maria Llopis, who together with Agueda Bañón was one of Girlswholikeporno collective, has published the book, El Postporno era eso (‘Post-Porn was this’). Throughout the book, the author tells us stories, explains postures and narrates sexual experiences with all kinds of weird and wonderful people from the cultural world of Barcelona. Not sparing any details, impressions or sizes, the book introduces us to the world of Post-porn and vindicates it as a hedonistic and political activity, capable of challenging traditional porn clichés.

My POST-PORN Artwork:

Anatomy of the pornography

Deep Angler

Merichane

Endogen sucobosis

This is another one about the rare forms in nature and the flash-dreams about this:

My new artwork: Pax simulacra

"I have had enough, Lord..."
Promised me peace, and only have given me pain, damn you, Lord.

La constelación de Helios Hyperión

The constelation of Helios Hyperion

Thanks to -candiflip- my friend in other life, FetLife

For centuries, religious believers have endured suffering with impressive fortitude.

Now scientists claim to have discovered that faith in God really can relieve pain. New research at Oxford University has found that the Christian martyrs may well have been able to draw on their religion to reduce the agony of, for example, being burnt at the stake.

Virgin Mary: The painting stared at by believers in God as they were subjected to electric shocks

In a bizarre experiment, academics at The Oxford Centre For Science Of The Mind ‘tortured’ 12 Roman Catholics and 12 atheists with electric shocks as they studied a painting of the Virgin Mary.

They found that the Catholics seemed to be able to block out much of the pain.

And, using the latest brain-scanning techniques, they also discovered that the Catholics were able to activate part of the brain associated with conditioning the experience of pain.

The findings were welcomed by the Anglican Bishop of Durham, the Rt Rev Tom Wright, who said: ‘The practice of faith should, and in many cases does, alter the person you are.

‘It can affect the patterns of your brain and your emotions. So it comes as no surprise to me that this experiment has reached such conclusions.’

The experiment is one of a series being conducted by the academics, a group of scientists, philosophers and theologians from different departments at the university.

A sparking device was strapped to the back of the participants’ left hands to deliver an electric shock.

The scientists then asked them to contemplate two paintings, Sassoferrato’s 17th Century Virgin Annunciate (Virgin Mary) and Leonardo da Vinci’s 15th Century Lady With An Ermine.

The researchers hoped that the face of the Virgin Mary would induce a religious state of mind in the believers, while da Vinci’s painting was chosen because it did not look dissimilar and would be calming.

The volunteers were not told the true purpose of the experiment, only that it was designed to judge how people felt pain while contemplating pictures of different things.They spent half an hour inside an MRI scanner, receiving a series of 20 electric shocks in four separate sessions while looking at either the religious or non-religious picture.Each time, the volunteer had to rate how much it hurt on a scale of 0 to 100.The Catholics said that looking at the painting of the Virgin Mary made them feel ‘safe’, ‘taken care of’ and ‘calmed down and peaceful’.

More significantly, they reported feeling 12 per cent less pain after viewing the religious image than after looking at the Leonardo.The front right-hand side of their brains lit up on the scanner, indicating that the neural mechanisms of pain modulation had been engaged.

There was no such brain activity among the atheists, whose pain and anxiety levels stayed roughly the same throughout the experiment.

Writing in the scientific journal Pain, the researchers concluded that at least some religious believers can moderate their pain by thinking about it more positively.Psychologist Miguel Farias, one of the team, admitted that a similar effect may be produced by non-believers if a sufficiently powerful image was used. 

He said: ‘We would need to find a picture of someone they feel very positive towards, such as a mother or father.’

Art work by Héctor Pineda | All rigths reserved

Exorcism of the heart in three steps:

1. The penetration
2. The suspension
3. The fall

Copyrigth, all rigths reserved.
Model by R J Hidson Photography

Razors pain you;
Rivers are damp;
Acids stain you;
And drugs cause cramp;
Guns aren't lawful;
Nooses give;
Gas smells awful;
You might as well live.

Dorothy Parker