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Flavio and Omi. Photo by Paul Sixta (image supplied) Flavio and Omi. Photo by Paul Sixta (image supplied)

Artists

The vanity of naked men

Flavio and Omi. Photo by Paul Sixta (image supplied)

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I caught up with photographer Paul Sixta to talk about the challenge of photographing naked men.

When did you start to explore your passion for photography?

I started photographing and doing some videos when I was 12. I just loved fooling around with cameras. Photos were analogue and needed to be printed, which was kind of expensive at the time for a kid, so I didn’t do as much as I would have liked.

You’ve created a stunning series of work — photographing naked men. How have you sourced the subjects for this series?

I find most men online — Instagram, Grindr — it’s easier to approach people online so they can have a look at the work, see if it’s something they might be interested in, and feel more comfortable saying no if they’re not sure.

Cristian. Photo by Paul Sixta (image supplied)

Is this an ongoing series?

I’ll probably always be taking portraits of people. It’s probably a never-ending project. I’m always looking to meet and photograph new people.

What does this series of photographs tell us about men and their relationship with their bodies?

Women’s bodies are judged so much more harshly then men’s bodies, but men have their issues as well. Almost every man thinks their penis is too small, or they wish that they had an Instagram six-pack. It takes a moment when we start shooting to accept whatever you’ve got and try to let it be.

Even though I don’t Photoshop bodies or faces, my work isn’t that confronting. After the shoot, I talk with the person that I’ve photographed, to see what can be published and what can’t. That can sometimes be a struggle between a good photo and vanity. But I try not to push too much. It’s important someone feels good about what goes online.

I guess I’m a typical photographer who hates pictures of himself, so I understand that not everything needs to be shared with the rest of the world. Maybe that’s actually atypical these days.

Jacob and Ken. Photo by Paul Sixta (image supplied)

What are some of your goals and ambitions for the remainder of 2018?

I’m trying to set up a gallery show, and I’m looking into book publishing options.

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Michiel. Photo by Paul Sixta (image supplied)
Alvaro. Photo by Paul Sixta (image supplied)

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Artists

Beach Boys in the Buff

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Antonio En La Playa by Marc DeBauch (image supplied)
Antonio En La Playa by Marc DeBauch (image supplied)

I caught up with artist Marc DeBauch to look at his series of work titled Beach Boys.

When did you discover and start to explore your passion for art?

I started drawing and painting when I was three years old. Before I was five, I remember creating a crayon drawing of the Sinking of the Titanic on the rough plaster of the living-room wall of my parents’ house. It was impossible to remove — my parents weren’t happy with me, but after that they provided me with enough art materials to pursue my creative interests without destroying their home.

Lonnel on the Beach by Marc DeBauch (image supplied)

When did you start specialising in painting naked men and creating erotic art?

It was 36 years ago when I started painting male nudes and selling them in a local gay book store. Then, in 1995, I entered two paintings in the Tom of Finland Foundation’s Emerging Erotic Artists Contest. I was won first place, which opened the door for my art career, as I was immediately approached by galleries and magazines that wanted to feature my art.

This gave me the confidence and notoriety to exhibit and sell my work at erotic art fairs and gay events. At that time, the internet was just emerging, so my friend Andrew created a website for me, which was a fantastic tool to get my art out to people around the world.

Aussie Boy by Marc DeBauch (image supplied)

You’ve written that Tom of Finland is one of the major influences on your work — when did you first encounter the work of Tom of Finland?

I remember seeing Tom of Finland’s art in a porno magazine my friend had in high school. I was just amazed at the sexual tension, outrageous anatomy, and attention to detail in Tom’s art.

This was back in the early 1970s, so gay porn was just emerging legally in magazines and films. At the time, I wasn’t talented enough to draw the human figure accurately. But, I was fascinated enough to want to try. My sister’s boyfriend was a photographer, and he gave me his dark room equipment — back then you actually had to develop film, as there were no digital cameras.

I talked a friend into posing naked for me while jacking off, and I developed the film and made some prints. I was 14 years old, photographing another 14-year-old boy. It was very exciting creating my own porn! Unfortunately, my dad — being supportive of my art — wanted to see the photos, and of course I couldn’t show him. Not only did he not approve of gays, he didn’t want his son to be gay. He would have probably hit me if he knew I was a homosexual creating gay porn! So, I destroyed the photos almost in front of him, while saying — “The photos didn’t turn out and I would show him better work at another time.”

I was scared and freaked out. I knew I was self-censoring. But I also realised that if I was going to create erotic art that I would have to do it in secret. When Tom of Finland began drawing naked men, he also had to make his art in secret. I think most erotic artists learn to be very careful about choosing the right audience to exhibit their work to.

Trevor on the Beach by Marc DeBauch (image supplied)

Where do you draw your inspiration from?

My inspiration comes from people I know. I’ve been fortunate to see and meet many beautiful men in my life. Capturing their beauty and illustrating them in a unique way, is my goal.

What’s your creative process?

My creative process is different every time I paint. Sometimes an idea for a painting just pops in my head and I try to find model to pose for a photo to match my vision — that’s often the easiest route.

I rarely work from a live model. My paintings take so long to create — I often work all night on a painting — so, finding a model to sit for that long of a period and whenever I want them, is impossible. I use the photos of my models as reference.

Often, I look through hundreds of images and piece things together in a collage. It’s more like a jigsaw puzzle — lots of pieces missing, and my mind fills in those missing pieces with an arm from this model, the chest from another, the dick from another, the face from another, and so on, until I have the entire figure. But then I have to decide how the light and setting will pull all of those puzzle pieces together.

I have dozens of photos that are my references for every detail of plants, animals, rocks, furnishings. I sort through a constant mess of photos — gradually eliminating those references as my brain digests the information and my brush puts it on the canvas or paper.

The paintings that form the Beach Boys series are beautiful — what are some of the challenges in creating beach scenes like this?

Trying to find a balance between the setting and the model is always a challenge. I don’t want the model to overpower the beach, or the beach to feel more important than the model. I want my paintings to have a natural feeling, like you could be at the beach with my models.

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Who are the men featured in the paintings of the Beach Boys series?

The men in my Beach Boy series are mostly friends that have modelled for me. Sometimes I find a photograph of a model that someone else has taken, that inspires me to use it as a reference pose to work from, then I find one of the photos of a beach that I’ve visited and I try to recreate a similar pose in a drawing that will eventually become a painting.

What do you hope that people feel when they look at your work?

I don’t want to just give the viewer of my art an erection, I want them to feel like they’re part of the painting, that they want to invite the men in my paintings into their homes, their beds, their dungeon, their car, their locker room, or the bushes for a hot fuck, butt licking, cock sucking, ass spanking good time.

I hope to excite the viewer visually, emotionally as well as spiritually. It’s my goal as an artist and sexually active gay man to paint erotica that continually challenges the views of people who oppose sexual freedom. If my paintings assist the viewer in discovering where they are in the spectrum of human sexuality, then my aim is reaching its target.

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After the Swim by Marc DeBauch (image supplied)

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