Kimberly Wilder: An Assessment Part 2

Occasionally, Wilder's art suggests a storyline: the disciplining of a wayward young woman, the training of a woman of pleasure in the fine art of prostitution, the effects of slavery upon the enslaved, the abuses of authority, the temptation of the innocent by the corrupt, the humiliation of the arrogant, the effects of peer pressure, evil disguised as innocence. More often, the single-panel drawings are imaginative representations of Wilder's own naughty fantasies--wet dreams, as it were, tinged with the wickedness of sadomasohism that, while it usually contents itself, in her work, with humiliation, intimidation, bondage, discipline, and forced sex, may, on occasion, be capable of expressing itself in such extremes as murder and cannibalism.

When the self or the other becomes an object rather than a person, it becomes subject to whatever use the dominant woman wishes to put it, however mild or wild. Although, to date, Wilder's art has not depicted actual death or dismemberment, having only suggested the possibilities of murder and cannibalism, she has hinted of late that she may begin to depict the wildest forms of sadomasochistic sex, including the death of the submissive participant (following extreme tortures) for no other end than the pleasure of her slayer. Cruel art, taken to its ultimate expression, ends in the snuffing out of another's life as if it were no more than the flame of a candle to be extinguished at one's pleasure. Another candle, after all, is readily and cheaply obtained.

In my previous review of Wilder's art, ("Kimberly Wilder: An Assessment," which is also available on Literotica), I restricted myself to describing and critiquing a few representative pictures, just to offer readers a taste, as it were, of her extraordinarily well executed, highly erotic art. In this essay, I will do something similar, examining only those works that involve threats of murder or cannibalism.

In one such image, an African-American woman, her hair gathered into a single pompom, or topknot, by a series of metal bands, stands on either side of a Caucasian woman who wears glasses, has a bow in her hair, and is attired in a blouse, a plaid schoolgirl's skirt, white stockings, and a pair of dress shoes.