Hairaiser makes images to satisfy his fetish for women with excess body hair. The internet found images of stereotypically beautiful women have been manipulated by Hairaiser in often subtle ways – a provocatively posed woman at first seems quite normal until your eyes travel down and you are enlightened with a downy covering of manly fur covering her legs. Some images are more blatant, Angelina Jolie or a 90s porn star with a good few weeks worth of growth on their faces are particularly delightful. There is something almost charming about the photographs that Hairaiser manipulates, verging on the in-offensive and absurd but simultaneously fantastically surreal. Some of the worlds most idolised modern women are turned into a drag queen’s dream. In a society where body hair on a woman is deemed unsightly its nice that Hairaiser has taken his fetish to the extreme that he has, even if this amount of body hair is unusual for most women to achieve.
We spoke to Hairaiser more about how his fetish has developed and the images that he makes.
Could you explain to us what attracts you to hairy women?
Why of course! I find it quite natural that a woman does not shave, and I honestly do not know why I am attracted to those who have a lot of hair. I like it and that’s it, I love to caress the legs of my wife when she hasn’t shaved, kiss her lips and feel the hairs of her upper lip. I think the fluff, when its thick, it is very feminine and sensual. Hairy women are beautiful to me.
At what point did you realise that you were attracted to hairy women? Was there a defining experience for you in your past?
Ever since puberty [...]
Egon Schiele: The Radical Nude opens at the Courtauld Gallery on the 23rd October and is the first major museum exhibition solely dedicated to the Vienesse artist’s work in the UK.
The exhibition focuses solely on Schiele and his nude subject which played a seminal role in his short but prolific career.
Schiele is known for his sexually provocative images that reinvented the classical depiction of the human figure. He challenged outmoded conventions of the nude by depicting the male and female figure in contorted poses and an unidealised form.
Themes that run throughout the exhibition are those of self-expression, procreation, sexuality and eroticism, acted out by various models- from himself to his sister, male friends, his wife and lovers, prostitutes, pregnant mothers and babies.
The images are often sexually explicit and erotically charged; Schiele was the first artist to address both human sexual anatomy and sexual psychology frankly through figure drawing. The explicit nature of Schiele’s artistic pursuits eventually criminalized him, he was imprisoned for two months in 1912 for contravening public decency.
The Radical Nude showcases thirty eight of his nude works that show Schiele’s talent for an explicit and raw depiction of not only the human form but human sexuality.
The exhibition runs from 23rd October until the 18th January at the Courtauld Gallery, London
More information can be found here
‘Since the day of my birth, my death began its walk. It is walking toward me, without hurrying’ Jean Cocteau.
Saturday marked the anniversary of the death of the French poet, artist and filmmaker Jean Cocteau. A touché a tout (a finger in every pie) Cocteau was often misunderstood. He walked a lonely path but was notoriously ahead of his time with inimitable elegance. In 1930 he produced 18 explicit drawings for the anonymously published erotic story Le Livre Blanc, written by Cocteau himself. Described as “obscenely pious’, the drawings are erotic and gives the viewer a visual expression to the sense of being torn between a fallen ideal, the sexuality of dreams and a slide into fantasy. They are not the symbols of simple, unequivocal obsession or a comment on the division between heterosexuality and homosexuality, but a quest for the pure, his personal truth. Sensitively drawn, the models came from a variety of backgrounds. Some were casual pickups; others were lovers and friends, including the precocious writer Raymond Radiguet and the actor Jean Marais.
“His body was more like the one I saw in my dreams than the young, powerfully equipped body of an adolescent: a perfect body, rigged out with muscles like a ship with ropes”. This fluidity of aesthetics and theatrics is in a constant state of movement and to Cocteau the ecstasy of joy and fear. The male body itself becomes fluid….
The body was sat slightly hunched but with vigour. His torso was long. His tan had faded. As he stretched his arms towards the sky the ridges of his sport shone through. Blood ran like the ink on [...]
Artist Seol Cheong Kwon will be presenting an exhibition at the brand new Sang Bleu gallery in the Sang Bleu London space in conjunction with Frieze art fair. The private view will take place on the 16th of October from 6-9pm.
To celebrate, we’ve interviewed Seol about the work she’ll be exhibiting, her relationship to Sang Bleu, her career and where she wants to go.
What do you hope the viewer will get out of your work being shown at Sang Bleu and what do you want to get out of it?
I would like the viewer to enjoy the work on an aesthetic level, to question the limits and processes of photography as a medium, and to consider the ramifications of a singular photographic based image in a society where the proliferation of the same repeated images is rampant.
My interest in Sang Bleu started during a point in my life when I had very little capacity to understand the world outside of my own created one. But when I stumbled upon it, I immediately felt a connection: first with the title of the magazine, because of this notion of nobility, blood lines, not only on a level of economic class, but on a tribal level, and then for my individual relationship with its’ aesthetic of tattoo, drawing, style and fetish. As a multidisciplinary forum anchored by an underlying thread which speaks to certain “rites of passage”, I connected to the structure and topics, since I never worked with only one medium and one subject and didn’t follow the mold of how an artist should work or establish themselves in the art world. Today I feel differently, being less contrarian, I am willing to take certain steps if it enables me [...]
Sang Bleu Vetements is now live! At www.sangbleu.club you will be able to purchase our growing selection of Sang Bleu designed clothes and past issues of Sang Bleu magazine.
A video has been made to celebrate this new release and was directed by Hope Plescia with creative direction from Maxime Buchi. The film explores the work of the UK Barbarians and features models Rory O’Hara, Jorgi Miltchev and Akira.
Linnéa Sjöberg is the swedish artist who has succeeded in causing a healthy amount of controversy over her art project named Salong Flyttkartong Studio, translating into Studio Moving Box.
This project saw Sjöberg take on an alter ego and perform crude homemade tattoos in the form of a succession of art performances on to her friends in domestic spaces. The tattoo world didn’t react too kindly to Sjöberg’s direct approach to the craft of tattooing. However the brutal aesthetic and nature to the creation of these tattoos, and to her own identity shone a light on to the all too often patriarchal and traditional nature of the tattoo world.
To find out more about Sjöberg’s motives for this project and the stories which amounted behind it, we spoke over Skype during the summer.
Reba Maybury: I was quite surprised that I’d never heard of your work before.
Linnéa Sjöberg :People say that in Sweden too, I think that this is because of the way I work. I take a long long time on each project that I take on and they become very personal, I change my identity into a new character who becomes the artwork. For example I did this with my business woman persona, and then again for Studio Moving Box. I’ve never been one for trying to get a lot of media attention onto myself either. I suppose I’m a bit under the radar, I enjoy working underground.
When did Studio Moving Box start?
It didn’t have an exact start date, but I could say that it started once I bought my tattoo machine off a friend who didn’t want to continue to tattoo anymore. He had tattooed me a lot, I’ve personally never been tattooed in a studio, only by friends. I’d wanted one for a while but I’d promised myself that [...]
It might seem unlikely that a woman introduced to the world in the second-most shocking scene in a movie full of them — John Waters’s revolutionary classic “Pink Flamingos,” in which she shares an intimate moment with a beau and a live chicken — would go on to become one of the most influential if unheralded figures in late 20th-century American culture. But Cookie Mueller — the late actress, writer, musician and model who died of AIDS in 1989 — was both a fixture of the downtown avant-garde and one of its most perceptive critics. Now, her legacy is being celebrated in “Edgewise,” a new oral history (out from Bbooks Verlag, $25) told in the words of Mueller’s friends, lovers, family and fans.
“I wanted the book to host the whole group,” says its author, Chloé Griffin, “and act as a continuous dialogue of memory.” And what memories: Mueller seems to have been everywhere something interesting was happening, from Waters’s Dreamland Studios in Baltimore to full-flower hippie San Francisco, where she encountered Charles Manson; from the anarchic bohemia of ’70s Provincetown to Studio 54, the Mudd Club and all the art galleries below 14th Street in 1980s New York. Her early fashion sense surely taught the B-52s the punk appeal of a ratty beehive; later, she pulled together the lingerie-and-bracelet aesthetic years before Madonna brought it to the mainstream. Photographers like Nan Goldin, Peter Hujar and David Armstrong made some of their most indelible images with Mueller in the frame.
As an art critic for Details, Mueller brought an enthusiastic eye to the New York scene. “All of it is worthless,” she wrote, “but all of it is true, and that is something.” As an advice columnist for the East Village Eye, she tackled [...]