EXCLUSIVE Artist Philip Swarbrick Art Porn Teen Bareback

EXCLUSIVE Artist Philip Swarbrick Art Porn Teen Twink Bareback
244,800 albums shared here AND this is a first for exposing the artist Philip Swarbrick (1956)
Philip is a dear charming friend, way back around 2005 during my coming out period, I observed some of his work at Adonis Art in Earls Court London.
I became obsessed with one painting (the second image here) but did not have enough money at that time to make a purchase.
Somehow I managed to make direct contact with Philip and he agreed to create a copy, this was the first of what became an extensive collection of erotic (more often explicit) 'homo' art, originals, limited edition prints and framed photos.
I ended up with four paintings, the first image is of the painting displayed in my bedroom.
Philip features as a 'cameo' in some of the art, see 4th & 5th image.
All his creations were based on real life models, Philip had a strict selection criteria, they had to be lean without body fat, yes Adonis.

The work of Phillip Swarbrick is sometimes characterised as pornographic because it deals with sub-cultural areas of life. He himself characterises much of his work as 'dangerous' - and he relishes exploring those areas of life that are rarely the subject matter of art. He enjoys the fantasies that he can create by touching on extreme or taboo subjects, and the discomfiture of viewers for whom the content is too strong.

But don't be misled: Swarbrick is a talented artist. He was born in South Africa and, after a short spell in the police force, came to England to escape from the apartheid regime then in power. For a time he worked as an art teacher before launching into a full-time artistic career. His work is often confrontational, sometimes shocking, but always exceptionally interesting. His paintings may be hard to display, but many collectors look forward to every new work this exceptional artist creates. The South Africa born artist Philip Swarbrick grew up in Durban, and knew from an early age that he was gay. As a teenager he regularly visited Rocket Hut Beach, half a mile from where he lived, which was inhabited by mainly male sunbathers who sprawled out in the sanctuary of the sand dunes. The male form he admired and which featured in his early drawings fused with his progressively emerging homosexuality, but the drawings disturbed his family and peers, so his venture into this sort of art was abruptly curtailed.

As he grew older, his daytime and nocturnal activities on Rocket Hut Beach increased despite draconian laws forbidding homosexual contact. He was conscripted into the South Africa Police, and teamed up with like-minded officers who regularly raided the numerous cruising areas around Durban. As he became more politically aware, enforcing apartheid became impossible, and in 1982 he left South Africa for England.
As he explains, ‘During this period I neglected the homosexual content of my work and concentrated on anti-apartheid themes. My first one-man exhibition was entitled Witness to Apartheid and Post-Modern Blues, at the Balham Gallery in London in 1987. I went on to work as an illustrator for the AD Comics Group, and eventually became an art lecturer and Head of Art History at New College, Swindon. My peers in the nearby town of Malmesbury, where I was comfortably ensconced in an eighteenth century cottage, criticised me for neglecting my painting talent in favour of education and security, and it was after a furious outburst by the painter Peter Harris that I determined to change my ways. He demanded that I ‘stop farting about’ and concentrate on my painting. Soon I was seething with anger that I had been so diverted from my original quest and passion. Through Harris’s publisher I met Michael Leonard, whose male art I greatly admired. I took voluntary redundancy so that I could concentrate my energies on painting rather than teaching, swapping my house and lectureship for a bedsit, a street-sweeping job – and art.’