Kimberly Wilder: An Assessment Pt. 02byCal Y. Pygia©
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!