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BDSM can be described as a subculture or alternative lifestyle choices for people with particular leanings toward bondage, discipline, fetish, kink, and sado masochism culminating in consensual power play, pain and pleasure by its participants to enhance an erotic relationship. The term BDSM literally means: bondage and discipline, sadism and masochism.

The dynamics of a BDSM relationship are characterised by its participants adopting the consensual roles of slave or submissive, and surrendering themselves to the domination of a Mistress or Master for erotic gratification between both parties. It is important to emphasise however, that there is a widely recognised and respected code of conduct for activities undertaken within the scope of BDSM and sado masochistic play which is “safe, sane and consensual” at all times during a scene. The basic principles of BDSM require that it be performed by responsible partners, of their own free will and in a safe way which means that everything is based on safe, sane and consensual behaviour of all parties. This mutual consent highlights a clear legal and ethical distinction between BDSM and crimes such as sexual assault or domestic violence.

BDSM encompasses a broad spectrum of activities such as bondage, discipline, slave training, spanking, CBT, nipple torture, electro torture, anal play, strapon, fisting, humiliation, spanking, corporal punishment, slapping, spitting, needle play, hot wax, forced feminisation, sissy slut training, water sports, foot worship, stiletto worship, boot worship, trampling, mummification, to name a few.

Classically, some of the tools of the performance are gags, whips, crops, paddles, ropes, cuffs, collars, straight jackets, straps and hoods, and indeed the Dominatrix or Master being the ultimate tool and controller of the kinky scenario.

Until the mid-nineties, the BDSM and fetish subcultures were still largely underground communities, however social acceptance swiftly escalated due to the prevalence of material available via the internet. It seems the internet has revolutionized our sex lives and provided us the luxury of exploring our darkest desires in the privacy of our own homes with downloadable BDSM, fetish and femdom movies at the click of a mouse.

These domination and femdom themed movies are likely to portray men and women experiencing various forms of bondage, discipline, punishment and torture and being consensually “forced” to endure submission, humiliation or sexual slavery by a femdom or master applying various methods of torture, punishment and discipline. Oh and yes, if you’re wondering, statistics show that a lot of people like it. Whether they are physically on the receiving end from their adored masochist or satisfying their individual fetish and kinks by watching BDSM, femdom and fetish movies, chances are there are a lot more people aroused by this secret world than they would openly admit.

The internet also paved the way for like-minded people to communicate not only locally, but world wide which in turn triggered an explosion of interest and knowledge of BDSM, kink, fetish and S & M. In addition, there has also been an explosive demand for traditional sex shops and online adult toy companies to stock fetish toys and fetish fashion, offering leather, latex, rubber and PVC.

Fortunately, the blossoming of websites offering BDSM movies has been a godsend for those curious, shy little creatures with no means of fulfilling their desire for slave training and servitude in the real world enabling them to explore their inner slave. Now they can download a session with an international BDSM Mistress and take all the punishment their little heart desires at a safe distance without those little telltale torture marks that tell their partner they have a penchant for a Femdom Mistress.

Abstract Art is a wide movement in American painting that was first seen in the late forties and then become a dominant trend in Western painting during the fifties. The premier American Abstract Expressionist painters were Jackson Pollock, Willem de Kooning, Franz Kline, and Mark Rothko. Others were Clyfford Still, Philip Guston, Helen Frankenthaler, Barnett Newman, Adolph Gottlieb, Robert Motherwell, Lee Krasner, Bradley Walker Tomlin, William Baziotes, Ad Reinhardt, Richard Pousette-Dart, Elaine de Kooning, and Jack Tworkov. Many of these artists worked, lived, or had galleries in New York City.

Though it is the accepted designation, Abstract Expressionism is not an apt category of the body of art created by the artists. In truth, the movement had many different painterly styles that differentiated in both technical skill and quality of method. Despite this variation, Abstract Expressionist paintings share several broad aspects. They are fundamentally abstract — meaning, they show forms that are not assumed from the outer world.

They furthermore master open, spontaneous, and individual emotional expression, and they display high freedom of technique and procedure to reach this result, with special emphasis laid on the manipulation of the variable physical character of paint to evoke expressive qualities (e.g., sensuousness, dynamism, violence, mystery, lyricism). They place a similar emphasis on the unstudied and intuitive application of the paint in a type of internal improvisation akin to the automatism of the Surrealists, with the parallelable aim of expressing the influence of the creative unconscious in art. They display the conscious abandonment of regularly structured composition formed from discrete and segregable areas and their replacement with a single unified, undifferentiated partition, network, or other image that exists in unstructured space. Lastly, the paintings fill large canvases to create for such aforementioned visual elements both monumentality and engrossing might.

The early Abstract Expressionists had two particular forerunners: Arshile Gorky, who painted esoteric biomorphic images by using a free, lightly linear and liquid paint skill; and Hans Hofmann, who had dynamic and fully textured brushwork in his abstract but conventionally formed works. Another special influence on nascent Abstract Expressionism was the arrival on American shores in the late 1930s and early forties of a troupe of Surrealists and the European avant-garde artists fleeing Nazi-dominated Europe. These avant-garde artists forcefully moved the native New York City painters and showed them a more detailed understanding of the vanguard of European paintings. The Abstract Expressionist movement itself is generally considered as having commenced with the paintings style by Jackson Pollock and Willem de Kooning through the late forties and early 50s.

Despite the differentiation of style of the Abstract Expressionist movement, three broad approaches can be seen. First was action painting which is characterized by a loose, rapidfire, dynamic, or forceful handling of paint in sweeping or slashing brushstrokes, and in technique partially dictated by chance, for example dripping or spilling paint right onto the canvas. Pollock first practiced action painting by dripping commercial paints onto the raw canvas creating complex and tangled skeins of paint into thrilling and suggestive linear patterns. De Kooning had very vigorous and expressive brushstrokes to build richly coloured and textured images. Kline was known for dynamic, sweeping black strokes onto the white canvas to create starkly monumental forms.

The middle area with Abstract Expressionism is demonstrated by many varied styles beginning with the lyrical, delicate imagery and fluid shapes seen in paintings by Guston and Frankenthaler to the more clearly structured, forceful, almost calligraphic art of Motherwell and Gottlieb.

The final and least emotionally expressive approach was that of Rothko, Newman, and Reinhardt. These painters took large areas or dimensions of flat colour and weak diaphanous paint to achieve quiet, subtle, almost meditative effects. The premier colour-field painter was Rothko; the large part of his works consist of vast combinations of soft-edged, solidly coloured rectangular spaces that tend to gleam and resonate.

Abstract Expressionism cast a particular impact on both the American and European art scenes through the 50s. Indeed, the movement denoted the transition of the creative centre of modern day painting from Paris to New York City throughout the postwar time. During the period of the 1950s, the the younger participants of the movement increasingly heeded the style of the colour-field painters. By the sixties, these young practitioners had generally shifted away from the hot expressiveness of the action painters.

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