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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 c**t. 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.

Hello My Dear,
How are you? hope you are fine? Well, i don't know how to start... well, am miss Nancy Duga, i am single and never been married.am interested in finding the right man that whom i will spend the rest of my life with and who is equally interested in finding the right woman of his heart.
l find your profile here on (zorpia)and became interested in you. if you are interested and serious in finding the right woman of your heart, contact me directly with this email so that i will give you my picture:
Here is my email adress(nancyduga@hotmail.com)
(Remember the distance and colour even age, does not matter, but love is the most important thing in creating a good and happy home l believe that we can start from here.waiting for your email to my mailbox above.
(nancyduga@hotmail.com)
Thanks, and God bless you,
Miss Nancy

FOR GIRLY LITTLE ME

I cannot help writing
Or thinking about penises,
Especially those which are
Circumcised, because
They are lovely
In their swollen stiffness,
Grown long and resolute,
Ready to have their way
With me or any other
Ladyboy or lady
Who comes their way.

Although it is easy
To become jaded
When poem after poem
Is obsessed with nakedness
And sex, penetration,
Fornication, orgasm,
And ejaculation,
I must confess, despite
The ennui which sometimes
Ensues, I love to see,
To smell, to touch,
And taste a firm, thick
Cock that has been chivalrous
Enough to stretch its length
To firm, swollen readiness
For girly little me.

SYMBOLS, ARCHETYPES, AND METAPHORS

All things are symbols
Archetypes, or metaphors,
And some are all of these
Separately or at once;
I find, in my own verse,
Gorgons, Galatea, sirens,
And Hermaphrodite
Figure prominently
As shapes which embody
The perfection of transsexual
Unity, for Medusa and her sisters
Had serpents for hair
And could turn men to stone
With but a stony gaze;
Galatea was a man-made woman;
Sirens called men to destruction;
And Hermaphrodite--
Ah! Hermaphrodite--
Was the beginning of us all.

GROUP SEX

Poems about breasts
And cunts and cocks
And balls and buttocks
Become boring,
Sooner for the intelligent
Or later for the thick,
Dim, and slow among us;
True aficionados
Of pornographic poetry
Understand that sex
Cannot be the all in all;
To be interesting beyond
Itself, sex must include
Humanity, past and present;
There must be millions
Of others in a pair
Of loving couples’ beds,
For sex, after all, is not about
Mere breasts and cunts
And cocks and balls
And buttocks, not at all,
But about life, and life
Includes us all, past,
Present, and future alike;
Sex is a communal affair,
And must involve humanity
To be of interest or importance
Beyond the moment and the day.

ANOTHER DIATRIBE

Razor’s edge
Marble glide
I ride upon
Your manly thighs
With part of you
Inside

Launch into endless
Entrails
Fireworks within
The black vaulted
Interior
Of my shemale sex
Makes me heave
And wheeze
And gasp

My moans signify
My bliss
Inexpressible in words

After you have spoken
Shouted
Ordered
And learned
The limits of your authority
I release you
From your manly drive
To conquer the world
In me
And hold you
Until you soften
Dwindling inside
And retreat
To gather your strength
For another diatribe

ALONE IN THE GALLERY OF PROVOCATIVE ART

When I saw a link
To “Provocative Art,”
How could I not
Have clicked the button
On my mouse,
Forsaking all others
For the sacred kitsch?

Here is what the tourist
Saw inside the cavernous
Worlds of the seer’s mind.

The House of Sleep
Ensnares dreamers
In their dreams,
Cunts flowering again
In pink succulence;
The sleeper wakes,
Wet with floral-scented dew.

Errors in judgment:
A giant and a dwarf
Too friendly
For each other’s company,
And an impossibility
Of semen spent upon
Narcissistic pursuits;
Day straddling starry night
To taste the fantasies
Of forbidden fruit
And decadent nebulae;
A woman boasting an erection
Stiffer and more stately
Than any penile caryatid;
A satyr and a naiad
Disrobed within a veldt
Composed of penises
Rooted in vulvas bristling
With thorny undergrowth.

An endless array
Of castrated men
And women
Bearing knives,
Some inside
Mouths; others
Within rectums,
A few tucked away
In the folds
Of vaginal tissues,
As if they were no more
Than Kleenex into which
To sob and cry.

Early morning on the beach:
An excuse by women to sit
Naked and admire themselves
And one another, with only surf
To spray their splayed legs
And salt their dainty, naked sex,
That their femininity
Might thus be preserved
For themselves alone
And the greater good,
Of course, of the sisterhood.

Are you open or closed
To high society or low?

I have seen women
Hard as rocks
And men soft
As Colette Calascione;
I have heard women
Moan and men groan
Under the burdens of love,
Exposing themselves
In erratic forms
And personifications
Of wings and things
And seen mermaids
Dressed to the nines.

We cannot all go
Among the stalactites
And stalagmites of the tombs.
Deep, sleek rivers carve
Through dense, marbled wombs;
Some of us must be
Afterthoughts of undigested pain.

Did you know painters are poets,
Too, in the titles by which they call
Their deep, dark, romantic visions.

He looked so strange, afterward,
Standing there, in his tuxedo,
Beside me, in my silk and satin gown
With its three tiers of heavy ruffles
And the pink and gold brocade,
His cock out, pissing, at the urinal.

Never go alone to a gallery
Of “Provocative Art,”
Lest you be the one to be
Pissed off and pissed upon.

A SHEMALE THROUGH AND THROUGH

Women are so full
And soft and generous
Of curve and form,
I want to bespatter them
With the seed of my loins;
Men are so hard
And strong, I want them
To bespatter me
With their manly sperm,
And so, as always,
I am caught between the two
Polarities of feminine
And masculine identity,
A shemale, through and through.

You are hot, hot, hot in ALL your lovely pictures, sweetie! (But you already know that.) Hugs, Cal

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love

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