Investigating a Case of BDSM

This super close-up shows her skin in stark flash-photography reality, complete with the minute stubble of her pubic hair, pimples and blemishes on her skin. The picture is not kind to her, but what choice did she have?

If our woman is a bona-fide submissive -- the first time we coin this word - would she appreciate being shown like so? Shown starkly and naked... Would she? Can the non-submissives in the world ever understand?

Picture no. 10 -- in landscape format

The next picture looks almost like one with artistic intent, with a sense of movement.

We see the side wall, with two of the kitchen utensil artworks and part of one graphic art piece.

From the bottom left of the picture we see a hairy arm reaching right, towards the bottom centre. Likely, it is the arm of the man in the second picture, as he wears the same watch. Also, he appears to be left-handed. With that hand, he is holding the pair of scissors. He may be touching her right breast with the tip of the scissors -- we cannot be conclusive.

Our woman we see from just above her eyes, still shrouded by the blindfold, down to just above the navel. The clothespins have all gone. Of her dress, only the left shoulder remains. The right shoulder is gone. Its shredded remnants arch down from her left shoulder to just above and below her right breast and down towards her right hip.

We can see very little of her face, but we feel she may now be decidedly uncomfortable, biting her teeth perhaps -- hard to tell, as her mouth remains taped shut. Again, we have no idea how much time has passed since our woman was first hit upon.

Picture no. 11 -- in landscape format

A departure from all we have seen! The mood has changed.

The perspective on our woman is half-profile, left and front, and we look towards the sidewall, where we see a series of four graphic art works -- we have seen them before.

The left side of the picture shows the man of picture no. 2, in the black T-shirt with the web address of the porn site, in right half-profile. We see him from mid-stomach to his complete head.

He leans forward, so we see the top his head, indeed, which obscures her head by a fragment. His left arms disappear behind her back. He is mentally supporting her (at, as we conjecture, the small of her back.)

She occupies the right side of the picture. Her blindfold is gone, the gaffer tape on her mouth is gone, all of her dress is gone. What remains is the leather collar. Her hair looks like it's loose, but is still behind her back.

She may well be naked, likely so, but we cannot see below mid-stomach. She looks vulnerable -- slenderer than ever, her breasts delicate.

Her face leans forward too, towards his. Her eyes are closed and she looks emotionally drained. Crying perhaps.

We so wish we'd know how long this has been going on for. Time is the essence.

Picture no. 12 -- portrait format

We see an entirely new episode of the event play out in this picture. The previous picture showed what was merely a pause.

Here, our woman is no langer standing up, no longer passively undergoing what people throw at her. She is down on her knees and is buck-naked, save the collar around her neck and her black heels. She kneels on the floor with a shoe shiner's box against her knees. Her butt nearly rests on her heels. She is busy shining the boots of the man we saw in the previous and in the second picture. It is now fair to say that he would be her main man and that almost certainly they are in a power-exchange relationship, he being master and she the sub.

Bottom left in the picture is the rucksack of the first picture, which is likely to have harboured the shoeshine paraphernalia. Next to it, a jar of black shoe polish and between this jar and her right knee a pink piece of cloth or towel that may be intended for the polishing.

Her man is on the right side of the picture. He has his right boot on a stand that is mounted on top of the box. What she does to the boot cannot be seen clearly, as it is hidden from view by his left leg. Of him, we only see that leg and part of his right leg and part of one of his hands, located between his thighs. A few clothespins lie beneath him to his right.

In the top left corner of the picture, we see the legs of two men standing against the wall, who are both wearing knee length shorts, one dark blue and the other beige, the former wearing dark trainers and socks, the latter white socks and off-white tennis shoes. There are two more people standing at the wall, in the distance behind her. Behind the woman, we see a further man sitting down on a folding chair, his feet and bag visible through the gap between the main man's legs and his woman's naked form.

The woman appears to be caught in motion as her hair appears to fly ahead of her head. Her eyes are hidden behind the hair. Her mouth is closed. What we can see of her face suggest concentration on the job in hand.

In this picture she appears as thin, slender. Her hips, her arms... Her small drooping breasts with erect nipples seem especially tender, as they appear whiter than the rest of her body. Her thighs are together and her vulva, her hairless slit are just visible.

Picture no. 13 -- portrait format

We have now arrived at the image that answers best to the qualification 'pornography'.

Here is what we see. The left edge of the picture shows the main man's left jeans leg, with a slice of black boot showing. The right edge shows most of the right boot, minus the bottom of its heel and what part of the trouser leg that hides the top of the boot. This boot is raised significantly compared to the left one.

The situation is the shining of his boots, with the right one resting on the stand.

In between his legs we have a framed frontal view of her naked body from just above the knee to just below the navel. The left edge of her right leg disappears behind his left leg; the right half of her left thigh behind his right boot and trouser leg. We see the inner edges of her thighs approach each other until 1-1 1/2 inches below her vulva. Lovely! At the top of the thighs, we see faint folds where the leg meets the underbelly. Endearing! In between these folds, left and right, we see the two fat outer labia, a bit darker pink than their surroundings. At the top of the labia, we see her clit hidden by its hood. At the very bottom, we may see something like a pearl of a piercing, we can't be sure. At the bottom points of these angled folds we can just make out the rounding of her buttocks, but only if we look well. Touching!

The top of her vulva is obscured by his shadow.

Below it, we see the stubble, pimples and blemishes every woman's skin who shaves shows. Perfection does not exist. In fact, the lack of perfection is the perfect beauty.

Picture no. 14 -- portrait format

This picture may be our favourite of the collection of sixteen. If we are allowed to have a favourite. But, you know, we are only human and inspecting this series of pictures is an emotional journey for us too! We see our woman's tears and want to cry with her. (No, it is not just sad. Maybe not sad at all. Just a very emotional, deep-digging journey.)

What do we see? The photograph has been taken from low down -- we see the bottom of the seat the main man is sitting on. He is shown at the left side of the picture, from the side and from behind. We see him sitting in a sturdy metal chair, modern, but with art-deco and classist influences, swaged spirals. The seat is grated, so we see the silk pink/purple cushion he is leisurely sitting on. His right foot rests on the shoeshine stand. His left is on the ground and visible through the legs of the seat. His right arm rests on the armrest.

We see a part of the side wall we have not yet seen. The ceiling is high, perhaps fifteen to eighteen foot. In the background we see a host of people squeezed into little visual nooks and crannies, most of them only partially. On the right in the picture, in the mid-distance, we see an arched doorway, ten to twelve feet tall, but it has been plastered shut. In front of it stands a heavy woman in a long black sleeveless dress. She has short hair, dyed red, a tattoo on her left shoulder, a spider or perhaps a sun with rays. To her right, we see part of a young woman, short black hair, V-neck top. One meter or two to the main man's right, squeezed underneath the bend of his right knee, we see the lower half of a woman in a red latex dress. The seat just hides her crotch -- it may be exposed, as the dress would hardly hide it. It could be panty-clad or bare, who knows? To her right, we see the left leg of another woman in black tights, visible below the main man's seat. Squeezed in the left edge of the picture, we see the left leg of yet another woman and a slice of her right leg, in virgin-white stockings to below the knee. This is conjecture, but we feel it may belong to the woman with the two pigtails and tartan skirt we saw in the fourth picture, as it befits the little girl image she was sporting. The other people mentioned we have not seen before. The number of attendees keep rising.

We said that the right foot of the main man remains on the shoeshine stand. But he has moved his heel as far forward as possible. This allows our woman, still on her knees and straddling the box, to rest her crotch on the toe of his boot. We do not see signs of any movement, so we cannot begin to guess whether she is getting off by rubbing her sensitive parts on his boot. Her slit is hidden behind his boot and trouser leg. Her left hand rests on his right knee, but is largely hidden by her hair falling forward from her head; we can make out the tip of her nose. Her head may be leaning against her left hand, we are not sure. We can just see her right elbow in the triangle between his right thigh and calf. Her right hand will be in his crotch area or on his left thigh, again, we cannot be sure. In the triangle between her left under- and upper arm we can just see her left nipple and half her areola. It is details like this that make this picture so moving.

Picture no. 15 -- portrait format

This picture is in a way redundant, as it does not show the main action or our woman at all. But it illustrates the kind of event this is.

The image is a close-up of two people, both women.

The top of picture is dominated by red latex. It must be the minidress we saw in the background of previous picture. The dress has been pushed up. Latex being latex, the dress is bunched up in five neat horizontal folds. On the woman's right it has been pushed up higher than on her left, so that the folds run down towards the right in the picture. The flash of the picture gives a glare on the smooth part of the dress at belly level. To the right of the picture, we see the left side of another woman's face, which leans against the first woman's left hip. The second woman's lips are pursed.

The bottom part of the picture is dominated by the left hand of the second woman, pale in the glare of the flash, but we see her four fingers, slender ones, on the first woman's left thigh -- on or very nearby. The elegant long nails are the same colour red as that of the other woman's latex dress. She wears gothic rings on her index and middle fingers; the first silver, like a mitre with a single red stone, the second gold with a small round shield with a golden dome in the centre and six alternating red and white stones surrounding it.

Her perfectly straight nose is just millimetres away from the latex, but also only ten to fifteen cm away from the crotch of the woman in red. And her crotch is bare.

Just an inch of the first woman's love triangle is visible, but we can see her narrow labia, close together, and strips of the adjacent flesh and the tops of her thighs.

Picture no. 16 -- landscape format

This is the final picture. We are coming to an end.

But, your honour, there is a niggle of doubt. We are fairly, though not absolutely sure that this image shows our woman. I will explain why in my closing remarks. What do we see?

The left-hand quarter of the picture shows us this. Near the bottom edge, three devices for whipping are strewn around on the gallery floor: a riding crop, a flogger and a bull whip. Near the top, we see the bottom of a large ventilator cage on little red wheels.

The right three-quarter of the picture shows a woman, in half-profile from the back, right. She is kneeling and bent over a rough wooden crate. Her butt is straight in our face, top centre of the picture. Her vertical thighs fill the bottom-centre, slightly spreading out. The picture has been taken at close range, hence I used the term 'in our face.' Butt and thighs are big, but in the right way: nice and luscious, and you want to grab them.

Sorry, Your Honour! We are straying from the factual. Won't happen again.

To resume the description, the very bottom edge of the picture shows an industrial zinc-coated chain around the left thigh. It may also go around the right thigh and/ or be attached to the box, but we cannot be sure, as that is outwith the reach of the picture.

Her torso lies on top of the box, her right arm is only partly visible and appears to straddle the box. In this position, the body fat of her torso looks a bit bunched up, together with her right breast. If you get our drift -- it is a feast of folds. This sows the first snippet of doubt that this is our woman, as we have seen she is on the slender side. But it may be the position and the bunching up that makes her seem more ample.

The second snippet of doubt is that she wears a small cable or plastic string around her waist, which we have not seen on her before.

The third is that she is seen to wear two little piercing jewels in her labia. We have not clearly seen these before, though we hinted at one in Picture no. 13.

Her ass cheeks and thighs show the marks of whipping, presumably using the whipping materials in the left of the image. They appear to be fairly light marks, for the most part, but we see a single drop of blood on her right buttock, which points the other way.

Let us describe her sweet ass in more detail -- sorry, Your Honour! We see her from the back-right, so do not look straight into her cunt and crack. This allows us to see the inside of her left thigh better. We see the fold marking the contour of her left buttock. Then, vertically down we see a taut main tendon that has been activated by the stretched bend-over position, legs separated. This miracle of geometry is impossible to accurately describe so that a draughtsman (or -- woman) could reproduce it. However, it is the sweetest thing, Your Honour.

The woman in question - we are still keen to assume it is our woman -- would she have enjoyed this performance...? You have not asked us that question, Your Honour. The public denuding her, she shining her man's boots and, to cap it all, her being whipped until a drop of blood was drawn... Did she enjoy it? Who knows...? It with great regret that we declare we cannot say.

But we hope she did. Sorry, Your Honour! Maybe you can tell.

POST SCRIPTUM

The above story has a long history. In March '97, I wrote a story about an insecure girl-student at an art college, who at her gradation show chose to exhibit herself and be made bare. The story was inspired by Yoko Ono's classic 'Cut Piece' performance during the early 60s and also took elements from the performance 'Rhythm 0' by Marina Abramovic during the 1970s. A juvenile piece of writing of mine, but there we are.

A BDSM master and his submissive read this story and did a performance that was inspired by it. I was happy to see that my humble writing inspired people, provided it was for the good as in this instance.

What happened next is that I wrote a second story, December 1998, on my turn inspired by the performance by the master and his submissive, the photographic record of which was available on their website.

I communicated with the submissive during the writing, largely during the initial phases, but to say that my story was an authorised account of what she went through is incorrect. The story represented what I think I would have felt, had it been me instead of her performing, imagining I was attached to her Master as she appeared to be. In short: my story was unauthorised but written with the submissive's cooperation. And she did not object to the publication.

If you want, I will send you the links to those stories.

Which brings us to now and the present story. I had (and have) sixteen photographs of their performance and was allowed to use two to illustrate my second story. Alas, I don't own the publishing rights and, alas again, the master and sub, and their website, have disappeared from where I can find them. The website of my older stories still exists, however.

But I am still fascinated by the above whole sequence of events. So, I decided to meticulously describe each of the pictures and conjure the long-vanished performance up in your mind's eye.

It was fun to do.

A case of Fiction following Fiction, following Truth, following Fiction following Truth!