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http://marquis.rebsart.com/erotica.html
marquisdeart@mindspring.com
See art by the
Marquis on Sadie's website
See the
painting the Marquis did of Sadie
The Marquis is an internationally known artist based in Las Vegas,
Nevada. Producing both traditional and computer generated works, his
portfolio includes a wide variety of both traditional forms such as
Native American art to erotic and fetish specialties. His work can be
seen in many magazines and has won a number of awards. He has
published one book of art prints called The Art of Marquis de Panasewicz
- Art Album and also sells a CD of images called Cirque du
Bizarre.
Sadie: I’d like to start with your name. Are you an actual Marquis,
which, for the uninitiated, is a nobleman ranking above a count?
Marquis: "Well, it's rather true, the Panasewicz family name goes
back some couple of hundred years or so, its organs are traced to a
noble family, who were land owners, protectorate of the church, country,
and king. Its heraldry crest is a composer of bull's horns, an arrow
pointing straightly upward toward the heavens, flanked on either side by
two winged griffins, one facing to the right, one to the left,
emblazoned upon a field of peacock feathers, with the inscription: 'By
Heavenly Virtue.' In the course of passing history, the land dwindled,
both on my father's and mothers side, the titles were lost; and when
Hitler raged his nazi devastation, the family fell into ruin, and most
were lost in the holocaust, my mother and father's families both fleeing
their separate ways. One by way of Canada, entering the US, the other by
way of Ellis Island, NYC. Then all family histories were lost to the
Russians takeover.
"It wasn't until I was 18 that my mother learned her brother was
still alive. My father, had long since given himself to the bottle. So,
I thought, asked myself, what history does this family have, if any; I
decided to research the family, and pieced together a slim history.
American status does not allow titles, or knighthoods, except until
recently and only by honorary decree by some other country; generally no
titles are recognized or considered legitimate. I would, be in fact, if
it were allowed a Marquis, however a poor one.
"If any person bothered to actually read any of the Marquis de
Sade's works, one would learn he was a political activist rather
wealthy, a statesman of some note, than the pervert the French
government, his peers, made him to be. What he wrote was the expose of
how the privileged classes exploit the weaker and not so privileged, how
the wealthy, by virtue of their wealth and position could dehumanize
those less fortunate. Has any one actually thought about the fact, why
he was imprisoned, and how could Sade commit all that is attributed to
him, being incarcerated. Sade wrote volumes, and mostly all were
destroyed, only a remnant survives to this day, his writings exposed the
wealthy and their excesses, something we he was not allowed to do,
as any of us are not allowed to this day. His name was
purposely maligned, so that he would carry the stigmata of perversion
and cruel excess for all time. The ever so intelligent adult industry
purveyors of sm smut just capitalized upon the Sade malignment without
ever reading one sentence, selling the perversions, the people wanted
for their titillations. My artwork, of the SM genre, depicts the
very same as Sade depicted, the hapless victim being used by the
controller, so it was a collusions of the same thought patterns, that
brought me to the title of Marquis."
Sadie: Our readers, of course, are interested in the kinky side of
your artistic vision. I observe that there is a fair number of
muscle-bound dominant women, splendid torpedo breasts, and pony &
cart scenes featured in your work. Would you say that this is an
accurate description of your real-life interests? If not, how would you
describe your BDSM orientation?
Marquis: "The muscled amazons are really my appreciation for a well
defined body and anatomy, a natural association to the pony girls.
Now think of this: a woman, or man, being exploited by a wealthy
personage, reducing the captives, their subjects to animals, beasts
of burden, while they, the fortunate, are able to ride in luxury by
virtue of the sweat and blood of another, they, the controllers wield
the whip at their discretion, while the animals labor only for a morsel
of food to preserve themselves for even more labors."
Sadie: As readers may know, you painted a nude portrait of me. I’m
sure that readers assume that I flew out there and posed for you, but in
fact we’ve never met. What is the process that you go through to
produce a piece of art that is so amazingly true to life?
Marquis: "I first, by hand, drew out, planned the piece, then
imputed it to my computer, and finalized the project. Everything now is
digital, everything you see, on screen, on television; and with the
special effects which can be created now, nothing can be believed as the
real thing. A traditional artist is just a fossil now, imbedded in the
stone of society. Maybe one day some explorer will uncover a
fossil."
Sadie: Do you produce many custom art pieces like this one? If
someone wanted to have a portrait done, how much would that cost and how
long would it take?
Marquis: "I've done some, and some have requested an actual oil
painting, and they are not cheap. If one wants cheap then go digital.
Come to think of it, digital is not cheap either. In fact, if you want
cheap, strip down and take a digital snapshot, Oh, where will you get
the scene from; the composition; hire a computer specialist. Oh, that's
not cheap either. Oh, well, the smutty garbage is always available on
the internet, but that too for a price. What I do, is an endeavor of
skills and learning over the years, even the learning of the computer;
so you ask, how much will it cost; that all depends on what you want in
the portraiture. Yours.....cost your soul."
Sadie: Do you find that when you are creating erotic art that you get
aroused? Or is it far too technical for that?
Marquis: "Sometimes, but I have to harness that energy, as creating
a thing, is all a mental process, an involvement of mind, and spirit,
then to control something outside yourself, to make it yield the vision,
in the mind. The computer allows for one to go faster, in all
areas; as in oils, the artist cannot proceed, without allowing for
a certain amount of drying time; and then to maintain the light, shadows
of form, from one day to the next, knowing that light itself is
illusive. Then if a mistake occurs, well then, an equal amount of time
correcting the mistake could be spent, as in the entire creation
process. But, publishers don't care about the torments of an artist,
just produce, and maybe you'll get paid. The adult industry is ruled by
slime, publishers which have no intelligence of anything except haw to
make money, no matter who they exploit in the process."
Sadie: Your work is described as fantasy or surrealistic. How would
you describe it? What draws you to this over, say, landscapes or
portraits?
Marquis: "Pastoral genre does indeed hold a certain attraction
for me, but portraiture, people hold a special interest, in that the
souls and what they hide, is the essence of real discovery and mystery.
That is the ultimate mind-game; how to create something, a visualization
that is only in the mind, or in the dark catacombs of one's soul, to
reveal it, so that others too would grasp the content of their own soul.
Nothing is more than disturbing than to see a creation, and have your
heart skip a beat, a dream occur which awakens one from a deep slumber;
stirs an emotion, cause one's brow to bleed with perspiration, the image
revealed, for all the world to regale, nothing can be hidden. The
artist's creation has captured my soul. When this happens, then the work
is a success.
"Now, I have had people tell me, they have masturbated to my
carnal creations, some cannot turn away, but have lingered for
hours on end. Well, it is rather embarrassing. Does art effect anyone,
yes, most emphatically yes, else why would state and church have used it
to such a great extent. Do you think Notre Dame was build the way it
was, just on a whim; oh wait, it's a college football team. I'll tell
you a little story. I was doing some underground covers for this rag
pulp newspaper, and I thought I make my début in some spectacular
fashion. I devised a theme on the Fly Agaric Mushroom, the mushroom so
poisonous that if one partakes of this rare mushroom, too much,
hallucinations and death occurs. Now I researched the mushroom at the
library and museum; and the research revealed certain facts as the
mushroom, eaten in very small portions, would be hallucinogenic, and
wild sexual orgies of extended duration would be had. Well, I reported
my findings to the editor, along with my little half assed cartoon
cover, mediocre at the very best; and the research was given to one of
the staff writers who embellished it greatly, and all was published. So
a week later, watch the news, here comes the report of a strange
multiple case of mushroom poisoning to the hospital, among the hippie
segment of society. Luckily, no one died. Does art have an effect, oh I
think so. More so, does a created vision in any media or medium cause an
effect, I think so."
Sadie: As readers can see on your website, you produce oil paintings
and pencil drawing as well as a wide variety of computer generated art.
Can you tell me about the process of developing artwork using your
computer as a tool?
Marquis: "The computer is nothing more than another tool, just like
an artists brush, which is a tool, useless without the pigment
which both are useless without the support to carry both; which the
creation itself is useless if no one sees it. All is dependant upon the
patron who commissions the piece, the creation in the first place. One
medium does not exclude the other, nor diminishes the other, it is the
craftsman who can only diminish the creation through his/her handling of
his/her tools. The hype to introduce computerization was disgusting in
the manner which it was crammed down everyone's throat. As long as they
could sell the hardware of computerization, the richer a few became.
But the end users are the ones who made their creations a success
or not, and that is only determined by the amount of money one could
spend. A painting, drawing, is a process which connects the artist to
his/her tools, the end result is determined by the skill of the creator;
whereas, the computer end result is determined not only by the knowledge
of the keyboard operator, and the program which has been created, which
he uses, but most importantly the amount of money which can be
spent in both hardware and software. The more you can spend, the better
your end result should be. The traditional artist has only his skill to
rely upon, nothing else, for the bristles of his brush, he/she can
use their own hair, attached by a blade of grass to a stick,
dipped in a pigment made from mud and applied to a rock if no other
support is available. Of course it is always nice to go to the
local art store and buy your materials, oops, money again, but it is
limited to only the purchase, and the result is totally up to the
human."
Sadie: You wrote once that, 'What I try to do is draw the viewer in
as a participant, rather than just a spectator. It's a concert of
subject, viewer, spectator, creation as a dance of the mind, a concert.'
I was thinking when I read this that you might want to consider doing a
little writing as well. What other creative and artistic pursuits do you
do?
Marquis: "Art is a concert, just as you explained, and the viewer
is a participant to the creation, as was always, even the nazis employed
this thinking, creating the spectacles, the participation of the
organizers, (the creators), and the crowds as the other entity, that of
participant. What, do you think that art, visual creation, is a
haphazard endeavor? Other pursuits, well, I'm really busy trying to
exist, and that in and of itself is an artistic creative endeavor. If
anyone out there wants to be my patron, has a villa, or castle in
France, then maybe my other pursuits could be channeled and focused more
intently in the only thing I am able to do, however feeble that pursuit
is."
Sadie: Would you say that you use your art as a conduit of change? If
so, how?
Marquis: "Art, me, a conduit to change, you mock me. Change can
only come about through the brutal force of power, which is only able
through vast wealth. The more money you have, the more you bring about
the change, according to what that agenda is, what idea you have in
mind. Art is a whore, selling herself to the highest bidder. The artist
is her pimp. That's it, all the greats I mentioned sold their whore to
the highest bidder. Don't take me for a fool in this regard, don't mock
me."
Sadie: What about your art keeps you excited and motivated?
Marquis: "I love my whore, I am passionate over her, I embrace her
through the pain and the glory of what she creates in me, she is a
beast, beguiling, tormenting, unfaithful, selfish, extracting from my
soul all the pain she can take, and gives only the illusion of freedom,
of life; and I want to live, enjoy somewhat of a life, I like the idea
of riding instead of walking where I want to go. That is my motivation
to employ, pimp out, my whore.
Sadie: How did you get involved in painting fetish art?
Marquis: "To express my art, my ideas, the only venue which was
allowed to me was in the field of erotica; fetish subject matter being
the natural outlet for what is actually happening in society. Much the
same as Sade did with his writings. Publishers of erotica, the pimps of
the publishing media, were seeking artwork, to sell their product, and
like other artists, I was seeking a venue. Now these same publishers,
because of their exploitational practices have all but destroyed
their own market. They recycle 20 year old artwork, make alluded
displays to the old guard when in fact, the publishers paid pennies
for what they contracted, and some held out the sign - 'this will make
you famous' and paid nothing whatsoever, and except for a very few, the
artwork published is nothing more than gas station, rest room
wall scribbles. Now, with the advent of computerization, virtually
all, ALL traditional art has vanished. The Adult market recycles,
whatever it can in traditional art, mostly all having been lost because
of the perceptions, that 'what pervert would draw such scenes,' surely
it is worth nothing, and not giving a fiddler's fuck as to the 'pervert'
who commissioned the 'art' in the first place, making certain that his
criteria was met. Now we have photos galore, even the more sensuous of
the photos are 20 years old, the new stuff lacks any sensuality at all,
being nothing more than digitized smut."
Sadie: I have observed that you approach your art with a sense of the
emotional and spiritual feeling you want to convey. For example, with my
portrait you explained how the snakes were being used: 'The entire
concept was to have you as an offering to the snake. Your charm has
beguiled the creatures and thus they are tamed, protecting, and menacing
any who dare approach their pet.' How do you develop your ideas so that
they express your vision?
Marquis: "All art, serious art, is spiritual, it is imbedding the
vision into the subject, an attempt to control the emotions of the
artist, not let his/her emotions attach themselves to the subject, or
else, the viewer will see, actually see just what was going on in the
being of the artist. That is, if the viewer is astute enough to
comprehend art, itself. Most people, about 99% are brain dead, walking
zombies, with their baseball/football score card in one hand and a beer
in the other. Now, the old Masters of by-gone years, Da Vinci,
Michelangelo, Titian, Delacroix, Vermeer, etc....all were professionals,
and the works we study and revere were indeed , commercial creations,
nothing more than that, signs; and to sell a product; the product of
their patron, their client; and the client was either the state, or the
church; each of which used art to sell their product and agenda. Now,
these fellows, the artists were indeed masters of visualization; true
skilled craftsmen of their medium. Titian, drew the concept, and his
school (company) of apprentices carried out the actual construct; just
as Michelangelo modeled in clay, what his stone cutters, usually
employed by a stone cutter company, specialized in statuary, carried out
the actual sculpture of Mikie's clay model. It was always a business;
but through some intellectuals, the business was transformed in the
mystic... art."
Sadie: How long have you been involved in the kink scene in Las
Vegas? Would you say that the intense energy of Las Vegas affects your
work in any way?
Marquis: "Surely you jest. The kink scene in Vegas is non-existent,
any and every kink club which opened, lasted only a month or two, at
maximum only to be shut down by Metro. If there is a kink scene, it is
mostly very private indeed. As for this intense energy of Vegas....oh
please; those that live and work in this city, work very hard for near
starvation, slave wages. The slave wage system is alive and well in
Vegas, and that is as close as you'll come to a kink scene. Now, that is
not to say, that some are knocking down the really big bucks, and mostly
all that big moneyed gentry is coming from outside. Vegas is paramount
in the exploitation of hype and people suck it up; believing they can
make the big bucks, gamble and play, yet no one thinks of how these
giant mega casino resorts are built...do you actually think they could
build these six billion dollar temples of sin, if they lost
money....get real. The energy of Vegas is ....absolute greed."
Sadie: Is there anything else you’d like to share with our readers?
Marquis: " Being just good, is not enough, when one dreams of
being great. All I ask is a stage where this bull can rage; and
prove the distance I can go."
Sadie: Thank you very much!
~~~~~~~~~~~~~~~~~~~~~
Sensuous Sadie is the author of It's Not About the Whip: Love, Sex,
and Spirituality in the BDSM Scene. Read an excerpt at http://www.trafford.com/robots/03-0551.html.
She is the founder and leader (1999 - 2001) of Rose & Thorn,
Vermont's first BDSM group. Comments, compliments and complaints, as
well as requests for reprinting can be addressed to her at SensuousSadie@aol.com
or visit her website at www.sensuoussadie.com.
Sadie believes the universe is abundant, and that sharing information
freely is part of this abundance, so she allows reprints of her writing
in most venues.
Copyright 2005 Sadie Sez Publications
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