Celebrating Bishop 18

03-20-2017
In general, I am not a fan of asymmetric bondage positions. I don't know why, just that I have always felt that way. It is just a matter of taste, and in no way am I trying to make a judgement here on people who do love it: more power to them. It's just not high on my list.
Having said that, I have loved this piece of Bishop since the first time I saw it, in the first book of him I ever owned, his second album. I'm not quite sure when it was published, but it has to have been in the early seventies, as number 3 came out in 1974, so I would have been like fourteen or fifteen years old. Later on, I also purchased number one and number three, and for years these three books were my Bondage Art Bible, an endless source of inspiration. A few years later, when our family had moved from an apartment to a house, I occupied a fairly large attic room. There, I started, using a kind of magic lantern device, to blow some of these drawings up, tracing them on large sheets of paper (A0 and A1 format), and I decorated my walls with them. Much to the amazement of the editorial staff of the school news paper, of which I was a member, during our meetings over at my place. And this drawing was among those enlargements.

From the beginning, I was so enamored with it, I tried to make a drawing more or less based on it, which turned out pathetic, of course, but I can still remember the joy and excitement I felt while making it, trying my best at lets say fifteen.

Now let's get into why I love this work by Bishop so much. First of all, it gives me something he is usually not very forthcoming with: some muscular definition, especially in the legs! Then, there is the lightening. This is so beautifully done, in a conjunction of the hatching and the cut away sheets. Usually, he uses these to give the illusion of fabric, for a blouse for instance, or a brick wall. But here they are used perfectly as a lightening tool. Notice also, how he used two separate sheets, one just a little lighter than the other.
A nice touch are the white panties OVER the costume, drawing attention to her erogenous zone in a highly inventive way. Also love the gag/blindfold combination, simple but effective, with the ball gag, as always firmly inside her mouth.
And then there is the position itself. The rigidness of it all. The fact that she is not only on her tippy toes because of the high heeled boot, but also by courtesy of the collar: you can almost see her hopping, circling around, trying to find back her balance.
And it is a sign of his genius of course that in this imaginary circular dance, he chooses this provocative angle to freeze it. Wonderful stuff!

Coco

Updates in New and the Sketch page, plus three new GIFS!
See you next time,

CBAP