The creator of art so vibrant it virtually pops off the canvas, in recent years Jason Atomic has also become know for his curation of group art shows and performance events celebrating different aspects of underground pop culture.
I met up with the courteous, eccentric Brit in a Brighton [UK] bar to chat about his life and art – and during the course of several pints of foaming ale I came to realize that they were one and the same.
Did the way you were raised have an influence on you becoming an artist?
JA: Yes, my family moved a lot when I was a kid, so being an artist was the one constant that I had. I don’t remember the first time I found a pen, but it was very early – my mom has pictures from when I was one-and a-half years old. I was obsessed with drawing animals. I also got into history, ancient Egyptians and Native Americans, particularly; and from there I went into horror, and then comics.
How old were you when you got into comic books?
JA: My first ever collage was made from Tarzan comics around 1972, when I was five years old. Then I started collecting comic books about 1976: reprints of American ones that were full of Jack Kirby and Steve Ditko [artists responsible for such awesome characters as Spider-Man and The Fantastic Four] comic strips. I really loved cave paintings too – it’s the kind of art I most relate to.
When did you start painting?
JA: I was instinctively drawn to the idea of it, but the shitty hog-hair brushes they give you at school frustrated me and really put me off painting. I couldn’t get the detail I wanted. I remember one instance when I was about six or seven years old: I couldn’t get Dracula’s fangs pointy enough, so I scrubbed out his face and left it on my desk, intending to finish it off after the weekend. But when I went to the school library it was on the wall – so my first publicly exhibited artwork was an unfinished piece that I was really unhappy with. So I gave up on it, decided I was going to draw comics, and wrestled with that through the 1980s. Unfortunately, in 1994 a bad experience with a publisher made me call it a day with comics, and I decided to move to Japan [for four years]. Around that time I had a dream that changed everything: I was in an old farmhouse at night, sat at a school desk full of sketchbooks from when I was a kid, looking out over a graveyard. Suddenly, I became aware that someone was with me. I looked around and there was the face of [surrealist artist] Salvador Dali floating over my left shoulder, and he said, “It’s time, we’ve gotta go.” I had to go downstairs for this big press launch, because Dali and his fellow dead art legends Joan Miró and Pablo Picasso had chosen me to represent them in the 21st century. While Dali was a floating face, Miró had manifested as a small, white talking kitten, and Picasso had come back as an enlarged newspaper cut-out. There was a sculpture that I had to unveil on their behalf, which basically turned out to be a triplicate phallic symbol. This dream visitation by the three ghosts made me realize that I shouldn’t be trying to conform to this idea of making a popular thing for people to consume [like a comic book]. Instead, as they did, I should get away from everything and start looking at life and drawing it: if someone puts your dinner on the table, draw your dinner; if you go for a walk and see a tree, draw that tree. So that’s all I did for my first year in Japan, I just got in touch with that idea of interpreting reality through my own consciousness.
But you still drew people, didn’t you?
JA: I did, but I knew I could draw people. I tried drawing the things that I didn’t know how to draw. I don’t look at the paper when I’m drawing, because I’m trying to take the ego out of the process: my hand just follows my eye in an almost mechanical way, so my brain doesn’t choose what it draws. I’m trying to make my process authentic, so that the line has a kind of existential nature. And the color, which I add afterwards, is more like an expressive playing: how the paint hits the canvas, how it rolls, how it coagulates.
How did you move on from subject matter that some would consider mundane?
JA: I always wanted to be investigative with my work, and being interested in sub-cultures and different scenes, I’d hang out with [for instance] punks and draw them in their environment. This led to me performing with a band called Fist Fuck Deluxe in London. It was great fun, but very different from my painting. So from the late 1990s/early Noughties I was fighting to pull together these two halves of my life: where one side’s interested in dressing up in weird clothes and performing, and the other side’s very observant and involved in drawing from life, and painting. Meeting my muse Manko [in the early Noughties] was like an act of God. She made me realize that my life needed to go in a new direction, and helped me resolve my interests in street fashion, comics, and life drawing, to a point where it’s all starting to make sense as a cohesive whole.
Is this when you started creating comic book related art again?
JA: Yeah… there’s a funny story that led up to it happening: one day I was very drunk and angry and chopping up parsley at home, when I decided to speed up things by putting it in the blender – along with my [drawing] hand, which saw me spend two months with it bandaged up in a sling. [During my incapacitation], I got to thinking that I’d slipped back into doing art to suit people’s briefs, and I decided it had to stop. So I made a mental note to myself that once my hand had healed, the next painting I would do would be something that I’d want to hang on my wall – something just for me.
What did that turn out to be?
JA: It turned out to be my rendition of [legendary comic book artist] Jack Kirby’s Devil Dinosaur. I’d never traced someone else’s work before, but I thought if I’d ever got hired to do so, I would have. So I approached the picture as a comic book inker/colorist for Jack Kirby. Once I’d painted it though, I wanted to show it, but couldn’t put it in a solo exhibition because it didn’t go with anything else I’d done.
So how did you resolve that situation?
JA: Well… I saw an amazing painting of [The Fantastic Four’s arch nemesis] Doctor Doom by an artist called Feroze Alam, in which he’d taken Kirby’s lines and then just colored it himself in oils. He agreed to be in a themed group show I wanted to do called Hail To The King [Kirby is generally referred to as ‘the King’], so I asked around and put together a bunch of other artists. We launched it in London at Resistance Gallery first, and then approached Orbital Comics about continuing it there. When I told their gallery organizer [the wonderful Karl Asaa] that I wanted to do something that would draw attention to Jack Kirby and highlight how respected he is as a serious artist, he waived the normal hire fee because he said the concept was “too important” not to do. So that’s what really re-established my connection with the comic scene, by meeting people who bought my comics in the 1980s, and some of my favorite artists of the moment.
Of late you’ve been actively working alongside your muse, Manko, and the Art Model Collective… how did that come about?
JA: Manko had been life modeling since before I met her but had become disillusioned with the scene. Basic pay for models has not increased much since the 1980s, and although life drawing is on the rise [in London], the models get very much taken for granted by organisers – so a few years ago we decided to start running our own life drawing sessions. We started out at London’s Orbital Comics with some sessions themed towards comic book artists and illustrators, and the Art Model Collective basically grew from there.
What exactly is the Art Model Collective?
JA: The Art Model Collective is almost an unofficial union for art models, which cuts out ‘middle men’ event organisers. It allows models to run their own sessions on a profit share basis and interact directly with the artists. This means our sessions have longer than average poses that can be repeated or extended at the request of the artists. The artists are also encouraged to suggest themes for future sessions.
What is your role in the Art Model Collective?
JA: I’m support staff basically. I take the money, lay out the drawing boards, keep time, and often DJ or read spoken word pieces to enhance the sessions. I also help with concepts and finding venues, generally at places I have exhibited my art at or collaborated on special events with – such as Orbital Comics and Underdog gallery.
Tell me about the artworks that illustrate this feature.
JA: Many of our life drawing sessions have movie themes. So, when you asked me to be part of the recent Billy Chainsaw presents… Walk Right Out Of The Film art show at London’s Underdog gallery, I immediately thought of working from sketches I’d done at Art Model Collective sessions.
Where are you at with your art right now?
JA: I think my style is constantly developing. I’ve always had a very flat, clean line style, but since we started the Art Model Collective I’ve been getting more into tonal work. I’ve been experimenting with using felt tip pens and the techniques I’ve developed there have led into some experiments with Photoshop. So I’m gradually creeping out from a very comfy comfort zone.
You can see more of Jason Atomic’s stunning art and keep up to date with his activities at www.jasonatomic.co.uk and jasonatomicblogspot.co.uk. Check out the Art Model Collective at facebook.com/artmodelcollective and @artmodcol
About the author:
UK-based artist Billy Chainsaw specializes in mixed-media pop art and has exhibited in numerous galleries in such far-flung locations as London and Los Angeles. Learn more about his work at www.koolkrakenincorporated.com
It’s nearing midnight when my favorite client comes in. I know I will be doing lap dances only for him for the rest of my shift. That’s fine by me. He pays well and he’s good company. He's built like a gladiator, too: broad shoulders, chiseled arms, rock hard abs, and a ruggedly handsome face. He's just my type. He sees me and nods his head, signaling me to come to him. He has a tray of shots in his hand and crisp bills protruding out of his pocket. He is ready to play.
I escort him to the VIP lounge and take the tray as he pays the hostess standing watch. Our VIP lounge is built for fun. It's a long row of private rooms divided by two-way mirrors. Each room has wall-to-wall mirrors as well. Once inside, there are two switches colored blue and red. The blue switch keeps the mirrors normal so you can only see yourself. The red switch inverts the mirrors, letting you see the other patrons and dancers in the next rooms.
He keeps the switch on blue as we talk and drink. The conversation is always brief. We race, taking shots back to back. My fourth shot is a little messy, and I dribble some on my chest. He leans in and licks it up, then kisses me. His eyes fix on mine.
“Will you dance for me?” he asks sweetly. I nod.
I stand confidently in front of him and sway my hips from side to side, each whirl perfectly in sync with the music. I bend over and let my hair whip forward as I unclasp my bra, my legs still stepping lightly to the beat. I tease him a while, holding my top over my breasts. I whip my hair back and lick my lips at him as I reveal my body slowly. His mouth drops open slightly as I dance closer. I straddle his lap and run my hands over his chest, kneading his muscles. I rub my breasts over his face.
I reach over to the controls and flip the switch to red. The room expands before our eyes. The dancer to my left is twerking as her patron cheers her on. The dancer to my right is feeling up a gorgeous female patron shamelessly, down on her knees. The view on each side elevates my arousal. I grind my hips over my guy's lap and feel his thick cock pressing against his pants. I can feel it swell against my pussy, making me wetter with each movement.
“I want to fuck you so bad right now,” he whispers. His usual confident look is gone. His eyes are pleading, powerless. I bite my lip and hesitate. I know I'm not supposed to, but he is irresistible, and I’m so horny. I close my eyes and lean in to kiss him. His soft lips surround my tongue as he slides his hands to my waist. The mirror to my left blacks out as the dancer and her male customer depart. Now it’s just our room and the adjacent one left, lit in view of each other.
I look to see if the other dancer is watching. She is engaged in her own fun as I slyly unzip my guy's pants and pull my panty crotch to the side, my slick pussy already leaking over his smooth shaft. I guide his cock inside me and wind my hips to the music, being careful not to thrust my hips too high. The switches are now too far from my reach. Privacy is momentarily impossible. The other dancer to my right catches my eye as she unravels her client’s top. I am not the only one breaking the rules this evening.
My guy sees her watching us and murmurs in my ear. “Let's give her a show as well. What do you say?” I nod and grin devilishly at him.
We walk over to the wall, and he presses me against it. I feel his soft lips nuzzle my neck as he lifts me up to straddle his waist with my back against the mirror. We have my colleague’s undivided attention as he slips his cock inside me. I am perfectly elevated. The only thing I can do is hang onto his neck, his fat cock thrusting into me deeply. I arch my back as he swivels inside me. My hair spreads over the mirror as I glide up and down.
I see the girls in the next room approach the mirror and press against the glass. My guy carefully lowers me down and flips me over. The female patron and I are face to face. We are so close, I can see circles of fog from her breath as the dancer pushes her against the mirror. We are eye to eye, our hands palm to palm but unable to touch. My guy sweeps my hair to the side and sucks my neck as he thrusts his dick inside me from behind. The other dancer pulls the woman's panties down and starts nibbling her hips.
The female patron bites her lip as she shuts her eyes for a moment. My gaze is fixed on her breasts as I am fucked against the wall. The mirror cools my overheated skin with every thrust as she opens her eyes again, holding my gaze with her own. The other dancer inserts her fingers inside her patron and starts tonguing her ass. My guy thrusts his cock deeper inside me, my knees shaking with each stroke.
His hands reach around and circle my clit as his thighs surround me from behind. My wetness overflows through his fingers as he fucks me deeper. I can feel the head of his cock hitting home as my pussy grips tighter around the shaft. My forehead nudges the glass as my pleasure grows, and finally my pussy trembles in climax all over his cock. The female patron is staring lustfully at me as she chases her orgasm on the other side of the glass.
I can feel my guy trembling. He is about to come any moment, groaning huskily in my ear. I squeeze my pussy muscles as tight as I can, helping him release his load. I grin playfully at the girls in front of me as they watch him lose his senses inside me. I can feel his hot load spray over my cheeks as he pulls out.
The other dancer's time is up and the mirror blacks out in front of me. I am still facing the mirror as my guy crouches down. He licks up his come from my cheeks, his hands grasping my waist. I can feel his breath on me as I gradually regain my composure. I turn around and pull him to his feet.
“You are so nasty... I love it!” I say as I kiss him, tasting his come from his own lips. His mouth curves into a smile as he kisses me back. We go back to the couch, one last pair of shots awaiting us. I clink my glass to his as we knock them back; then we both dress quickly. He blows me a kiss as he exits the lounge. I shake my head with a smile as I gather my clothes, knowing I’ve broken the club’s rules as well as my own, but not really caring.
If you enjoy erotic fiction and would like to contribute some of your own, you can email it to firstname.lastname@example.org. We don't promise to post it in full, but we will pick out the juiciest bits to share!
Latex aka rubber isn’t something you’d generally associate with fine art, but British artist Michelle Mildenhall has taken the tactile material and transformed it into stunning portraits of the offbeat and famous. A mischievous mix of light and dark, Mildenhall’s work perfectly refects her personality. Little wonder then that she’s known internationally as the ‘latex queen of the art scene.’
Michelle was gracious enough to answer my questions about herself and her love of latex over a very traditional English cream tea…
Ms Mildenhall, where were you raised, and what is your artistic background?
MM: I come from a tiny village in Wiltshire [England], it was a beautiful place to grow up, we had a huge garden that you could run riot in. I use to draw flowers from the garden from a very early age. In fact I’ve been an artist for as long as I can remember, always painting things and drawing. I took A-level art [the English equivalent of High School] in order to go on to study an art foundation course, spending a whole year creating work and finding out where my strengths lie, and I ended up going to university to study a degree in Textiles.
What inspires and influences you?
MM: I’m a little magpie when it comes to inspiration, it is absolutely everywhere. My art is completely driven by my inquisitive and curious mind. I love to observe people in the street, what they’re wearing, color combinations and textures. Feelings inspire me too, excitement, wonderment and passion – anything that awakens your senses. I also get inspiration from the people around me. I love to look at erotic art, books, photographs, listen to music, watch performers, meet colorful characters. When I create my work I love how the piece makes me feel, how it excites me. I hope to be able to give the viewer the same sensation.
What kind of art were you doing prior to your latex portraits?
MM: After leaving college, I was a freelance commercial designer, working for lots of different companies.
Why did you make the transition to creating latex portraits?
MM: After being a commercial artist for over 10 years I thought to myself, it’s about time you started pleasing yourself rather than trying to please everyone else. It became so mundane working for all these companies, regurgitating ideas and never pushing myself.
What is it about latex that appeals to you?
MM: I love wearing latex clothing, the first time I slipped into it I felt empowered and sexy. As an artist new experiences are essential to my creativity and I think my first encounter with latex had a profound effect on me. I love the way it makes me look and feel. I still get that tingle of excitement when I open my dressing up box full of latex!
Briefly explain your technique – without giving away trade secrets of course.
MM: I could tell you but I’d have to kill you! Let’s just say it’s taken me over 10 years to get my pieces coming out as pristine as they do. I started off making my own clothing, purely for fun, then went into making latex hats which I used to sell, but it was my art that totally engrossed me, there was something inside telling me I had to do this. The idea came to me in a flash of inspiration while I was working on a latex outfit for myself, and since that moment I haven’t looked back.
How do you choose your subjects?
MM: I have two takes on this. I look for an image that really speaks to me, one that has a lot of depth in the eyes, which could translate well. It’s all about what the subject is feeling, I want to create something powerful that really draws the viewer’s attention. But I also like to play with things and do art that is unexpected, adding a little humor in there, as I did in my most successful creations to date – the QE1 and QE2 portraits. They depict the Queen [of England, Elizabeth II] sporting two subversive looks: the first sees her in full latex hood with collar and crown; the second in just the collar and crown. Is this absurd? Maybe… but hey, who knows what goes on behind closed doors.
What do you hope viewers get from your work?
MM: I want to seduce the viewer into a world of disconcerting beauty by using popular but somewhat taboo themes of sexuality, fetishism and subversion. Each piece becomes defined and fetishized via its latex conceptualization. All my pieces have strong characters, and more often than not there is an erotic/fetishistic element to them, which is less about the physical appearance and more about the subject’s state of mind. I want the viewer to be drawn in.
What is the most unusual latex portrait commission you’ve ever done?
MM: I’ve just created a very unique piece, [Russian President] Vladimir Putin as a transgender woman, elegantly wearing a Russian coat of arms tiara with the universal symbol for human rights incorporated into it. Around his neck a pendant sits beautifully. It is not obvious at first glance, but there is a refined political satire to the piece. Putin looks powerful, yet strangely beautiful and demure at the same time.
What do you regard as being your greatest achievement?
MM: Doing what I love every day. I feel so privileged to be in this position and never take it for granted. Doing what I love empowers me, and the positive feedback is like nothing you ever get when working for other people. I had no idea I could get this kind of fulfillment from following my own path, but it’s down to doing something I love and being 100 percent committed to it. Take it from me: no matter what your vocation, if you believe in what you do, you will succeed. I’m also very proud to have shown my work next to some amazing British artists, such as Grayson Perry, Damien Hirst and Banksy.
Describe yourself as both a person and an artist.
MM: I would say I have a sunny disposition, that I’m a bit of a joker, but very hard working. I try to look at things in a different light, with a kind of openness, an almost childlike view of things. I don’t get too bogged down trying to be an artist. I just try to see the amazement of life.
Are you part of a latex/fetish scene?
MM: I’ve been wearing latex and going to fetish clubs for about 13 years now. I love getting rubbered up for the evening and meeting amazing people. I’ve fetish partied all over the world, London, Berlin and San Francisco to name a few, but no one does it quite like the English. The London-based Torture Garden was the first fetish club I ever visited and I loved it – in fact I still love it.
You can see more of Michelle Mildenhall’s stunning art and keep up to date with her activities at www.michellemildenhall.co.uk as well as www.instagram.com/michellemildenhall www.facebook.com/latexartwork and www.twitter.com/MissMildenhall
About the author:
UK-based artist Billy Chainsaw specializes in mixed-media pop art and has exhibited in numerous galleries in such far-flung locations as London and Los Angeles. Learn more about his work at www.koolkrakenincorporated.com
I remember wondering, as I lay flat on my back, secured to a stepladder by a chain around my waist, just how and why I ever let myself get into this kind of situation. I wasn’t alone in the room; my boyfriend Taylor was wandering around me, camcorder in hand, filming a triple load of come drying on my body. I was totally drained, my jaw ached, my pussy throbbed, and then I remembered why… it’s because I like being this way. Actually I love being willingly defiled by two guys at the same time, and Taylor loves watching it happen – and filming it. So let me tell you how this particular scenario came about…
We’d been out drinking with our friends, Sammy and Ted, and Taylor had invited them back to our place to watch some home movies. While the guys were expecting to see footage of our recent snowboarding trip, Taylor and I had agreed to give them a special treat.
I poured everyone drinks, and as soon as Taylor pressed play on the camcorder, it was already too late for second thoughts. I knew that the exposure of one of our more intimate home movies would have repercussions – and deep down that’s exactly what I wanted. I thought about Sammy and Ted, flopped out on the sofa as they watched the movie play on the monitor, their cocks stiffening inside their pants.
“Stick your cock in my mouth, I want to taste your come on my tonsils,” I heard myself saying, recorded in private, and now played back for Sammy and Ted to see. My mouth was dry as I watched myself sucking Taylor’s shaft, and my pussy became wet when I watched Taylor pump me from behind. I was super excited by my own shamelessness.
Sammy and Ted were silent, while Taylor got horny, his cock unfurling inside his pants, one hand on my bare thigh, the other hand on mine, guiding it inside his zipper. I glanced over at Sammy and Ted as I tugged out Taylor’s boner, stroking him hard before lowering my lips down to the base of his shaft. I’d already decided I’d blow every cock in the room.
I clambered onto my knees, stuck my ass in the air and turned to Ted. “My ass is yours,” I told him, between mouthfuls of Taylor’s cock. As Ted duly tongued my butt-crack, I looked up at Sammy, who was idly stroking his bone.
“Suck him,” groaned Taylor. I slid Taylor’s cock out of my mouth and replaced it with Sammy’s. Taylor had no intention of my sucking Sammy’s cock for long though, and after what seemed like no time at all, he said, “It’s time to move into the back room.”
The four of us got naked. Taylor held up a long length of chain, shook it loudly and said, “I think it’s time to bring this into play, don’t you, baby?” I smiled and nodded in agreement. Taylor wrapped the chain around my waist and secured it to a stepladder. “This’ll look so kinky on camera,” he said. I was shaking with excitement and anticipation.
I got on all fours, taking Ted’s cock in my mouth, while Sammy guided his into my pussy. “Do what you want with her,” offered Taylor, knowing that that’s exactly what I wanted. He circled the three of us with the camcorder, capturing Sammy slapping my ass as I gulped down Ted’s cock.
A voice inside my head repeated, “Yes… do what you want with me, use me, screw me senseless from both ends.” Oh, the sensations that flooded my body, they were so overwhelming. As I sucked on Ted’s shaft, Sammy’s hands spread my butt cheeks as he slammed harder and harder inside my cunt. I stared at Taylor as he moved in for a close-up of my cock-filled mouth, and I winked. He responded by pulling the chain tighter around my waist. I groaned in total pleasure, sucked harder, and squeezed Ted’s balls with one hand. He yelped in such a way I guessed he was about to come. Then Sammy made a similar sound as he too was reaching boiling point.
I yanked my head off Ted’s cock and said, “Not inside me, guys. I want to see you come.” Reluctantly, Sammy withdrew from my pussy, and I rolled over onto my back, reaching for him.
With a cock in each hand I jerked Ted and Sammy hard and fast. As they came all over my heaving breasts I looked up at Taylor and smiled. He was still filming but finding it hard to keep the camcorder steady, because he was jacking off. Moments later he came too – all over my pussy.
I rattled the chain and looked up at the camcorder in Taylor’s hand. Then I looked down at my come-spattered body, admiring the mess and knowing the moment had been captured for me to watch whenever I wanted.
Many thanks to our member, Bonnie, for writing this story. If you enjoy erotic fiction and would like to contribute some of your own, you can email it to me at email@example.com. I don't promise to post it in full, but I will pick out the juiciest bits to share!
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