Warning
This blog contains adult-themed artwork –
drawings and paintings, all of which are intended to represent adult characters in fantasy erotic situations.
Please leave if you are offended by images of this type.
Proceed below
Portrait of Mistress Severna 2
As a companion piece to the previous painting of Mistress Severna reflecting a similar theme, she is here shown enthroned in another cavernous lair. Draped in a luxurious fur coat, and wearing fine lingerie and thigh-high boots, she exudes dominance and control. Her leather gloved hands effortlessly hold threads of spider silk to control her adoring submissives with calm authority, while giant menacing spiders bind them firmly into her web. The interplay of shadow and texture heightens the sinister atmosphere, transforming the scene into a tableau of seduction, danger, and submission, where Mistress Severna reigns as both queen and predator of her dark domain.
What is a likeness?
I recently had a portrait turned down. It was politely rejected and I was paid a satisfactory fee so there was no argument but it was disappointing nevertheless. Almost everything in the portrait was fine and happily accepted but it all revolved around it “not looking like her”. I thought it did, but she – and he, the commissioner giving it as a gift, did not.
What is a likeness in fact? I have thought about this for many years and concluded that it is actually an agreement that there is a resemblance.
Everyone sees the world in a different way and no-one can guess exactly someone else’s vision. Some people have sensitivities about the way they appear that no other would guess. My own view of anyone is coloured by all the experience I have ever had so I will necessarily draw what I see and not the way they do. So if there is an agreement about a likeness it will be a coincidence that we both feel the same way.
For the most part this coincidence is achieved and the portrait is accepted. A rejection is very rare now as not only most clients accept that my vision is what they are buying but that this agreement can be better approximated by seeing enough reference. Many years back I might receive only one or two photos to refer to which often gave a misleading impression. Now there is any amount of photos, video reference and where possible meeting the sitter in real life which is most useful of all. Moreover in the rough stage of the design I try to detail the face so that we are agreed about how the finished artwork will look and changes should not be necessary, but still the odd one slips through.
It is also interesting that as we expect photos to mirror reality exactly the question never arises of a likeness. They are just good photos or not so good even if no resemblance is seen.
I wonder if Mona Lisa was happy with her portrait and told Leonardo – to his obvious annoyance – that it didn’t look like her. And maybe it didn’t, yet it doesn’t matter because the work of art has remained for centuries. She is long gone, as is he, but as in every other portrait, her uniqueness is preserved, reflected through his uniqueness as an artist. I like to think of my own in the same way.
Portrait of Goddess Aurora
This enigmatic portrait was requested for Berlin based Goddess Aurora, whose has a love for Gothic scenarios. So the setting is a gloomy chapel, where she is dressed in a silk Victorian gown with leather gloves and in the background a row of Goddess Aurora’s victims is bound in leather while one part is fully exposed and pulled up by cords.
She wears a necklace which was also gifted by the commissioner and there are also some personal details which he requested. The chess pieces on the left and the pomegranate in the bowl, freshly sliced and picked out in red – like her lips. And the red on the knife? Obviously the juice from the pomegranate…or maybe ?
Two personal fantasies
I occasionally take on commissions which amount to more than a simple direct portrait.
I was contacted by F. from Germany who requested a fantasy involving his girlfriend as a gift for her. His fantasy was quite involved but it was a lovely scene to depict so I was pleased to accept it. It needed a landscape format though to look effective.
He wished to show his girlfriend riding her horse through an Alpine meadow, with him naked and bound, tied by a rope to the saddle and running to keep up with her. In the background are workers transporting the massive stones, or firewood, working under the direction of a mistress in the distance. A magnificent mountain dominates the scene to the left.
The girlfriend was very pleased with the gift and immediately wanted her own fantasy painted. So I obliged with her own fantasy. In this she is shown in a plain dungeon dressed in a similar tight leather costume whipping him. One of her friends is shown in the background holding her own slave by the neck with her heel – together with a male “drink holder” on a turntable to the side.
Both paintings have now been framed and hang together in their new house.
(For discretion faces have been blurred.)
Portrait of Mistress Severna
Mistress Severna from Switzerland gave me a quite open brief for this portrait. She said she had a love for octopuses though it might be difficult to incorporate it into a portrait . My idea here is to simply include the tentacles without the body so it does not appear too much as if it is an underwater world. The tentacles wrap around her two devoted submissives as they worship and adore her high heels. Mistress Severna holds a staff symbolising her dominance in her right hand and gazes out at us with a cool gaze.
Portrait of Mistress Amanda
In a high castle courtyard Mistress Amanda stands proudly in her high black boots and reflective black outfit. She holds a chain connected to the commissioner of the portrait, marked with a “D”, coming out of a prison below. Her red hair lightly caught by the breeze contrasts with the gloom of the walls.
To the side , two males hanging by ropes upside down from arches await the sting of her whip.
And who is that in the distance but her friend and mentor Mistress Ezada Sinn who is preparing her own for a whipping.
Mistress Tyler always wins!
The idea for this portrait was a special paddle that the commissioner had made with an ‘X’ on one side and an ‘O’ on another for playing a game of tic-tac-toe (noughts and crosses) on his bottom while chained to a pillory, because ‘Mistress Tyler always wins’. But how to show both sides in one picture? The answer is a device of picture design I sometimes use – the mirror. So the victim is visible in the mirror while she stands in front of it looking at us but just to push the design further Mistress Tyler takes a photo of the situation with her mobile in another mirror, perhaps.
Where in fact are we?
Portrait of Mistress Lilith
To commemorate the opening of Alba Eden Studio, Mistress Lilith’s new premises, her devoted submissive commissioned a full-size portrait to mark this milestone.
The portrait depicts Mistress Lilith seated regally on the back of one of her submissives, overseeing her domain with serene authority. Alba Eden Studio is visible in the background, a picturesque rural estate that provides a private setting for indoor and outdoor BDSM activities.
In the midground, two well-trained human “ponies” wait patiently, harnessed to a sleek carriage. Mistress Lilith’s loyal mastiffs frolic on the grass, contrasting with the controlled discipline of the scene.
A significant detail in the composition is the Lilith sigil, on the mask and belt . This emblem serves as both a mark of ownership and a seal of her power, as a mark of her sovereignty.
Portrait of Ceara Lynch
Ceara Lynch describes herself as a “humiliatrix” whose presence is purely online so she is depicted here comfortably resting on her “sofa of souls”, within which admirers of her beauty are doomed to a life of torment, suffering so near to her but unable to touch or speak to her or escape from their bonds. As an avid gamer she will use the game controller which rests in front of her and completely ignore their suffering.
Her right hand caresses her three adorable cats, while at her feet, one more fortunate than the others is permitted to adore her personally.
Portrait of Goddess Miko
Goddess Miko is preparing for an evening with her date. He has arrived outside her apartment in his new Ferrari and is now looking at his watch wondering why she is taking so long to come out.
She is taking her time. Her personal assistant (the commissioner of the portrait) is buried deep beneath her getting her ready for a passion he can only dream about , bound and naked. A tug on the leash and the threat of the whip makes sure he performs well.
Her leather skirt is ready to put on and she will be away.
Perhaps he will have duties when she returns …
The Art of Sardax 
