0 comments/ 18516 views/ 0 favorites Kimberly Wilder: An Assessment By: Cal Y. Pygia Pull up a chair. Oh. That's right. If you're reading this article, you're most likely at your computer monitor, which means that you've already pulled up a chair. Okay, good. In this article, I'm going to review the splendid art of a magnificent (and very beautiful, too, by the way) transgender artist who goes by the name of Kimberly Wilder. Several Yahoo groups are dedicated to her art and that of her friends. She has--or had--also posted some of her work on various other websites. It's harder to find now, though, it seems. Signing her art "kim2wild," Ms. Wilder--or Kimberly, if I may be so bold--offers finely drawn pencil sketches of sometimes-unlikely sex scenes which usually have a bit of a BDSM edge to them and, of course, feature cross dressers, shemales, and other transgender characters. A very talented young lady, Kimberly's work is on the level of fine art and deserves a far greater body of admirers than it has, perhaps, acquired to date, for it is difficult for an erotic artist, especially, perhaps, an erotic artist whose themes are sadomasochistic and involve transgender personae, to gain much publicity in the so-called legitimate art world. Although artists, in particular, and art, in general, are often not only sexy in and of themselves, but extremely tolerant, the same open-mindedness doesn't seem to apply to most art enthusiasts. Slender and statuesque with a classically beautiful face and a sexy figure, the raven-haired Kimberly is frequently, if not always, the model for the main characters in her art. Like the work of Christopher Leach, another, but very different, transgender artist whose work I also admire and about whom I have written (check out my article concerning him; it's also available on Literotica), Kimberly's art is often all about her, both literally and figuratively. As a boy, she played dress up and, tragically, she was sexually molested. Her traumatic experience is repeated, as it were, many times over, in the sexual abuse that her drawings' alter egos frequently suffer. Like many other artists, Kimberly uses her talent to transcend the pain and suffering she endured in the past, making of these painful experiences the raw materials, as it were, of her present transformation of herself into a gorgeous transvestite and her celebration, in her beautiful drawings, of herself and all her experiences, past and present, pleasant and painful, alike. Kimberly's art often features young transvestites and transsexuals, who, if they have turned eighteen, are seldom older than that. They are extremely well executed and altogether lovely, looking like girls next door who have been glamorized so as to appear just a little lovelier than their actual counterparts. Almost invariably, they are slim, with fine features, relatively small breasts, and penises that range from average length to larger. They are usually dressed, at least partially, in the frilly, fun lingerie that young women wear as if such apparel were a second skin. Although there isn't really a typical costume among Kimberly's girls, many of them dress in (sometimes transparent) bras, garter belts and stockings or pantyhose (sometimes with cut-out crotches or buttocks), high heels, corsets, camisoles, summer dresses, and, occasionally, formal evening gowns. Some wear maids' outfits. A few of her characters wear schoolgirl uniforms, overalls, and other, more unusual attire. They always wear makeup, and their hair is always fashionably or elegantly styled. Most wear jewelry and carry purses. A few wear ribbons in their hair or hats upon their heads. Whatever costume she wears, every one of them is beautiful and sexy. Much of her art has a humorous element to it. Two young ladies may be crushed to discover that each is wearing the same outfit. A beauty may be alarmed to find that the hotdog that a dominant, older woman is putting on a charcoal grill resembles the younger woman's own erect penis. In one picture, a lovely young cross dresser is horrified to have been discovered masturbating by a shocked, older woman, possibly her mother, who has come, in a transparent slip, to use the facilities: the girl, having finished masturbating in the bathroom, is caught ejaculating her semen onto the mirror before which she stands. Waitresses may bear trays upon which are displayed lit (or melting) phallic candles. A saddle may be equipped with a dildo so that the young horsewoman is fucked simply by mounting and riding her steed. A few of Kimberly's pictures--usually the earlier ones, it appears--have a fantasy theme. In one, a nubile young shemale is being fellated by a beautiful sex demon (or, alternatively, an alien, for a flying saucer hovers in the sky above) with wings, a tail, and six breasts (pairs in three tiers, one below the next). As she is sucked off, the lovely tranny holds on to the long horn which grows from the top of the creature's skull, tapering into a sharp point, looking, all the while, as if, despite her uncertainty and fear, she is enjoying the act. In another drawing, a transsexual Amazonian queen sits upon an ornately carved throne, the armrests of which are winged skulls, as her warriors parade a line of naked women--presumably captives--before her for her to examine, possibly in order to select, from among them, a paramour, a servant, or both--in the form of a sex slave. Kimberly's art often allows viewers to apply their own interpretations to the marvelous scenes she depicts, although many also are based upon specific literary works (Harry Potter, for example) and are not, as such, as open to personal or idiosyncratic interpretations. In another work, a satyr despoils a virginal shemale: his arm around her neck and shoulders, the fawn lifts the astonished, terrified tranny off the ground. Her ass is at the level of his waist and her raised legs are spread wide, offering the viewer an unimpeded view of her impaled anus and of her own erect cock and tightly bunched balls. Despite her terror--or perhaps because of it--the damsel in distress is obviously aroused--a theme common to much of Kimberly's work. Another fantasy piece involves Walt Disney's Snow White, frolicking, sexually, with one of the Seven Dwarfs--Dopey, it appears. He is bent over at the waist, with his pants down around his knees, sucking the transsexual princess' large, erect penis while the pale beauty fucks him anally with a dildo, the balls of which resemble the ears of the Disney mascot, Mickey Mouse, himself. Behind the impaled, cock-sucking dwarf, the others wait in line. The next dwarf, anticipating his turn, has his erect penis in hand, and he masturbates, a happy expression on his face, as he watches his peer please the princess. A Christmas scene shows a lovely young miss in a transparent nightie, wearing stockings, high heels, and gloves that rise to the middle of her upper arms. As she hangs an ornament on her yuletide tree, her cock, erect, making a tent of the front of her nightgown, she holds the shaft of a large candy cane, which she has inserted well into her ass. In a work reminiscent of Rene Magritte's surrealistic painting, Attempting the Impossible, an artist, looking suspiciously like Kimberly herself, seems to put the finishing touches to a magnificent erection she is painting--an erection that juts through a hole in her canvas and onto the painting's surface. The canvas itself has been painted to resemble a wooden fence, so that the penis that the artist paints is both an imitation of an erect prick and the actual erection itself. The stiff, hard cock that she paints is mirrored by her own erection, so that this surreal masterpiece invokes questions, all at once, about the nature of art, the nature of reality, the nature of perception, and the nature of artistic inspiration. If Magritte seems to have been Kimberly's muse on one occasion, so, too, does H. R. Giger appear to have inspired her on another: the head of a clearly phallic monster is shown in a sketch that could well have been executed by Giger, rather than by Kimberly. Mere inches away from a splendidly tight, firm, round pair of buttocks, its tongue licks the cleavage between the sleek, fleshly spheres. Shown in profile, the glans-shaped head of the beast is equipped with a pair of jaws which, open to allow the monster to extend its tongue, are lined with sharp pointed fangs. It is phallic, but not a penis per se; it is snakelike, but not a serpent as such. The tiny, cruel eye above the jaw is inhuman, reptilian, and unnervingly predatory. As always, Kimberly's art, whether inspired by the work of another artist or entirely a product of the orgiastic pandemonium of her own inner demons, is highly original and exquisitely lovely, even in its occasional grotesquery. In some of her fantasy works, a beautiful female or a lively shemale or transvestite nymph struggles with patriarchal power which takes the form of a monstrous phallus. One young woman resembles Eve, without Adam. She is shown struggling with what seems to be Eden's primordial serpent, the devil. However, the presence of two other serpents calls into question this initial interpretation. One snake, python size in length and girth, has climbed a tree--the tree of the knowledge of good and evil?--wrapping its coils around a limb. However, half its length hangs from its perch, coiling around the woman's throat and choking her. Instead of a serpent's head, the snake has the head of a penis. At the same time, from the grass at her feet, a second snake, wound around her right calf and thigh, penetrates her cunt. Simultaneously, a third snake, rising from the thick grass, impales her anus. Is the identification of the young nude with Eve too straightforward? What is the viewer to make of the absence of Adam; of the presence of not one, but three, snakes; of the serpents' choking of, and sexual assaults upon, the lone and defenseless woman; of the tree (is it the tree of the knowledge of good and evil, or only a tree?); of the strange whirlwind-like cloud coming toward the woman from the picture's distance (is this God, a tornado, or just an odd confusion of the air, a mirage of sorts)? If the allusion to Genesis' account of the temptation and sin of Eve is intended, Kimberly certainly opens the traditional understanding of this critical moment in Christian faith and, indeed, Western culture, to new interpretations, understandings, and visions--an amazing feat for any artist and for any painting. Quite a few of Kimberly's other drawings include religious symbols, figures, and themes. Nuns--most of them transsexuals themselves--are frequent characters, availing themselves of their charges' mouths, hands, anuses, rectums, penises, and testicles; coming onto innocent students as the twosome stand before a crucifix bearing a female Christ; turning a blind eye to one student's sexual assault by her peers; "disciplining" wayward girls (i. e., shemales), leading them away on a leash, baseball bat in hand, to be beaten; or escorting a neo-Nazi female commandant past a file of bent-over schoolgirls who exhibit their bare, branded buttocks--and their cocks and balls--to the visiting dignitary. In other drawings with religious themes, the characters are associated with less specific a religious creed. In these sketches, sex occurs between an angel and a female devil or a transsexual demon or between a human t-girl and a female demon. In one case, a demon fucks herself with her cock or tail (it is unclear which). In many of her drawings, the artist's central character--almost always Kimberly herself, or a version of herself--has a secret (a penis) which is revealed, much to the protagonist's mortification. Kimberly's art is an endless coming out, the repeated revelation of her transgender status an artistic confession of sorts by which she seems to seek not so much reconciliation as acceptance (or, maybe, self-acceptance), validation, love, and the freedom that comes with such tolerance, with such affection, and with such esteem. It is often a frustrated hope, though, for her art is full of pain, of suffering, and of misery, of both a physical, a sexual, and an emotional nature. It is the pain of a martyr who wants relief and release, but who also has come to enjoy and to need the domination and the control of others and the punishment and the derision that they heap upon her, despite--or maybe because of--her beauty, her talent, and her personal hopes and fears. (In a cruel world, beauty may be more a liability, at times, than an asset.) In seeking rest for her tortured soul, Kimberly takes many forms. She is a schoolgirl, a best friend, a cross dresser, a transsexual; she adopts the persona of the maid, the waitress, the waif. She becomes an angel, a demon, a servant, a religious devotee, a captive of Amazon warriors. She plays the part of the merciless dominatrix, the cock sucker, the ass-fucked bottom, the streetwalker, the bride. She poses as a daughter, a secretary, a coworker, a patient, a prisoner, the reviled and the scourged. But, most of all, she is the damsel in distress, the helpless victim, the tortured martyr, the tormented soul, seeking, eternally, acceptance, respect, and love, but doomed, forever, to suffer rejection, fear, and dismissal instead. Our early experiences often shape--or warp--us, but it is the sign of a true artist to use such experiences, traumatic though they may have been--and may continue to be--to shape his or her art, and Kimberly, as a very fine artist, certainly does this in her magnificent work. Kimberly Wilder: An Assessment Pt. 02 In my survey of well over 250 of Kimberly Wilder's wild femdom drawings, in which wayward young shemales, rather than females, are the subjects of the dominant women (and, sometimes, transwomen) who appear in her fabulous art, I find that the sexual acts, which are usually performed on the part of the shemale (or, rather, are performed upon her) by force, include anal dildo play, fellatio, bondage, digital anal insertion, masturbation, semen collection, analingus, enema administration, whipping, beating, spanking, transvestism, torture, exhibitionism, asphyxia, voyeurism, cannibalism, breast sucking, slavery, sodomy using an object, anal intercourse, ejaculation, group sex, sexual assault, and, of course, humiliation, domination, and intimidation. In many drawings, a single act is represented; in a few, two or more acts are shown as being performed simultaneously. Rarely, an orgy is depicted, although, even then, the sexual acts tend to be limited in number to the same two or three among the many participants. Wilder achieves her depiction of a vast variety of sexual acts by drawing many drawings, rather than only a few in which many sexual acts are depicted in the same works. Her cast of characters (the women among whom more often than not resemble the artist herself, regardless of their ages and vocations) include secretaries, Snow White, demons, police officers, nurses, social matrons, schoolgirls, nuns, governesses, mothers, daughters, maids, Amazon warriors, teachers, students, cannibals, train passengers, torturers, victims of torture, painters, angels, extraterrestrial entities, swimmers, horsewomen, geisha women, Nazis, prisoners, guards, and partygoers. Her art also includes a variety of settings, realistic, fantastic, contemporary, Victorian, and ancient: offices, the sky, bedrooms, dungeons, railroad sleeper cars, hospital rooms, city streets, men's restrooms, nunneries, castles, libraries, bathrooms, throne rooms, classrooms, living rooms, jails, the artist's own studio, lakes, limousines, hallways, kitchens, and fashion runways. Occasionally, Wilder's art suggests a storyline: the disciplining of a wayward young woman, the training of a woman of pleasure in the fine art of prostitution, the effects of slavery upon the enslaved, the abuses of authority, the temptation of the innocent by the corrupt, the humiliation of the arrogant, the effects of peer pressure, evil disguised as innocence. More often, the single-panel drawings are imaginative representations of Wilder's own naughty fantasies--wet dreams, as it were, tinged with the wickedness of sadomasohism that, while it usually contents itself, in her work, with humiliation, intimidation, bondage, discipline, and forced sex, may, on occasion, be capable of expressing itself in such extremes as murder and cannibalism. When the self or the other becomes an object rather than a person, it becomes subject to whatever use the dominant woman wishes to put it, however mild or wild. Although, to date, Wilder's art has not depicted actual death or dismemberment, having only suggested the possibilities of murder and cannibalism, she has hinted of late that she may begin to depict the wildest forms of sadomasochistic sex, including the death of the submissive participant (following extreme tortures) for no other end than the pleasure of her slayer. Cruel art, taken to its ultimate expression, ends in the snuffing out of another's life as if it were no more than the flame of a candle to be extinguished at one's pleasure. Another candle, after all, is readily and cheaply obtained. In my previous review of Wilder's art, ("Kimberly Wilder: An Assessment," which is also available on Literotica), I restricted myself to describing and critiquing a few representative pictures, just to offer readers a taste, as it were, of her extraordinarily well executed, highly erotic art. In this essay, I will do something similar, examining only those works that involve threats of murder or cannibalism. In one such image, an African-American woman, her hair gathered into a single pompom, or topknot, by a series of metal bands, stands on either side of a Caucasian woman who wears glasses, has a bow in her hair, and is attired in a blouse, a plaid schoolgirl's skirt, white stockings, and a pair of dress shoes. The victim's hands are behind her back. Her blouse has been partially unbuttoned and yanked down, to reveal her round, firm breasts, and her skirt is lifted in front by the captor on her left to show that the captive wears no panties and is of transsexual status, having a semi-erect penis, in lieu of a vagina. The African-American women, who are clearly intended to represent tribal natives, wear little else besides their hair bands: additional bands around their necks, a bracelet around their biceps, stockings, and sandals. They have large, firm, round breasts, and the penis of the captor at the captive's left bears an erect penis, which reveals her transsexual status. The genitals of the native on the Caucasian woman's right are obscured by the captive's right hip and thigh, but this native is also presumably a shemale, as is, in fact, the captive woman herself. The native to the captive's right seems to be holding the white woman's hands behind the captive's back, and the native on the other side of the victim holds a sharpened hatchet in her raised left hand. In the foreground, a great cauldron with handles on either side of its belly rests atop a number of flaming logs that have been laid in a circle; steam rises from the bubbling liquid within the pot, and a femur (perhaps used as a stirrer) protrudes from the vessel. To the right of the cauldron, a bowl stands, atop a column, holding a collection of severed penises--seven or eight in number--which suggests that the native women have enjoyed similar repasts to the one which they are about to prepare. Interestingly, Wilder has reversed the natural gradations of shading, so that the circle of radiance nearest the fire below the cauldron is darkest, with successive concentric bands of light becoming less dark as their distance from the pot increases. This reversal of the natural effects of lighting surprises the viewer and causes him or her to examine the drawing's details longer and more closely than he or she might otherwise and has the added benefit of emphasizing the masculine members of the characters, one black, the other white, one erect, the other semi-erect, whose genitals are displayed. In another, rather more humorous drawing that also suggests cannibalism, an older woman, naked but for the apron, oven mitt, and high heels she wears, holds a forked hotdog over a charcoal grill with one hand (the hand wearing the mitt) as she holds the younger woman standing before her firmly under the chin with her other hand. The older woman eyes the younger woman menacingly. On the faintly sketched picnic table behind the women, linked sausages, a bottle of ketchup, and a bottle of mustard, equally faintly executed, stand, as if waiting to be of service to the cook. The nubile young woman, a large bow in her hair and the top of her low neckline tugged below her breasts, lifts her shirt to reveal her garter belt, and the viewer sees that she wears no panties. The rest of her meager outfit consists of her stockings and high heels. The young woman, eyes on the hotdog that has been either taken from the grill, cooked, or is about to be put onto it, to be cooked, looks anxious. She is wondering, perhaps, whether the menu will include, along with the frankfurters and sausages, her own grilled penis. However, her erection makes it obvious that, despite her anxiety, she is also aroused at the thought that her own manhood might be added to the picnic's fare. Becoming food for her mistress' table, Wilder suggests, would be fulfillment, indeed, for the lovely young lady whose only desire, it appears, is to serve her better. I have described the next drawing in my earlier review of Wilder's work, so I will simply reiterate it here for those who haven't read it before: In some of her fantasy works, a beautiful female or a lively shemale or transvestite nymph struggles with patriarchal power which takes the form of a monstrous phallus. One young woman resembles Eve, without Adam. She is shown struggling with what seems to be Eden's primordial serpent, the devil. However, the presence of two other serpents calls into question this initial interpretation. One snake, python size in length and girth, has climbed a tree--the tree of the knowledge of good and evil?--wrapping its coils around a limb. However, half its length hangs from its perch, coiling around the woman's throat and choking her. Instead of a serpent's head, the snake has the head of a penis. At the same time, from the grass at her feet, a second snake, wound around her right calf and thigh, penetrates her cunt. Simultaneously, a third snake, rising from the thick grass, impales her anus. Is the identification of the young nude with Eve too straightforward? What is the viewer to make of the absence of Adam; of the presence of not one, but three, snakes; of the serpents' choking of, and sexual assaults upon, the lone and defenseless woman; of the tree (is it the tree of the knowledge of good and evil, or only a tree?); of the strange whirlwind-like cloud coming toward the woman from the picture's distance (is this God, a tornado, or just an odd confusion of the air, a mirage of sorts)? If the allusion to Genesis' account of the temptation and sin of Eve is intended, Kimberly certainly opens the traditional understanding of this critical moment in Christian faith and, indeed, Western culture, to new interpretations, understandings, and visions--an amazing feat for any artist and for any painting. In a fourth picture, a platinum blonde, naked but for her red high heels, stands at the edge of a pit from which an intense, shimmering yellow-and-orange glow arises, suggesting that a fire rages therein. The hook on a large pulley tugs the chain about her neck, causing her to stand on tiptoe inside her heels, and a second hook, attached on a chain suspended from the same hook that lifts the chain around the victim's neck, impales the captive's anus, significantly adding to the likelihood of her injury or death should the pulley raise the hook: she will die, it appears, either of strangulation, of severe injury to her rectum and anus, or by being lowered to her fiery death inside the burning pit. Meanwhile, to ensure that she suffers while she is still alive, wires have been attached to her nipples and the chain that hangs from the pulley has been wrapped around her semi-erect penis, which has been drawn between her parted thighs, and secured there by small weights. Both the wires and the chain are electrified, as is indicated by the blue arcs of voltage which leap between her breasts and across the backs of her thighs. It appears that the pulley is also electrified, for electricity has caused the victim's platinum blonde hair to stand on end, and blue tendrils of electricity rise from her head. One can all but hear the crackling and sizzling sounds of the electricity and smell the stench of her seared flesh. Kimberly Wilder subjects her submissive characters to an array of punishments and torments, including anal impalement, milking of the penis, whippings, beatings, spankings, oral and anal sexual assaults, bondage, forced servitude, humiliation, enemas, incarceration, infibulations, and cross dressing. However, in the many pictures that I have been fortunate enough to collect from a number of websites featuring Wilder's work, I have yet to see more than the four drawings that I describe in this review in which she threatens her wayward young misses with a punishment as severe as death or with a fate as horrific as cannibalism. In the picnic scene, in which the victim's erection may join the hotdogs and sausages on the luncheon menu, Wilder effects humor as well as horror, but in the other three drawings, there is only horror, and the threats are all too realistically represented, previews of things to come rather than merely expressions of what might be. These drawings suggest that the wildly talented Wilder can and well may make good on her promise--or her threat--to offer her fans more than violence and suffering in her future work. She may be ready to graduate to mayhem and murder in an attempt to arouse both herself and her jaded viewers anew. The only question is whether her aficionados have the stomach and the balls for such raw fare. As for Cal Y. Pygia, I say, bring it on, Kimberly, the Wilder the better!