An Artist for Humanity

Peter is a pervert who loves his artwork of painting nude women. Only, one day, after suffering a heart attack and confronting the reality of his imminent demise, during his road to recovery in intensive care in the hospital, he had the downtime to assess his life. That was when he grew a conscience.

Coincidentally, with the beta blocker and other medications the hospital gave him to slow his heartbeat and lower his blood pressure and cholesterol, his conscience grew in proportion to his penis shrinking and his libido dwindling. He saw his sudden lack of interest in sex as a sign from above to mend his ways and change his life for the better. He decided that instead of using his art just to make money and suit his perverse, personal sexual purposes, he'd now use his art to make a political and moral statement for the betterment of all people the world over. What better topic to make a statement about than the preservation of the planet and what better day to make that statement than on Earth Day?

Peter is a painter, a very talented painter, at that. He specialized in painting nudes. Only, he doesn't paint nudes on canvas, he paints the actual physical naked bodies of women, only women. In addition to being a nude painter, Peter is a self-professed pervert. He gets off on watching his models strip in front of him, a prerequisite of the conditions of him painting them, while he photographs and/or videotapes them undressing.

"Where's your dressing room?"

"I don't have one," said Peter to his model. "You may undress here, where you are standing, and in front of me. Watching you disrobe is one of the things that give me my inspiration," he'd say fisting his hand in a dramatic way to punctuate his artistic nature.

It's all a game for him, a necessary game, one that elicits his inspiration from deep within. He loves seeing just how far he can go with his paintbrush with an attractive model before being rebuffed and/or slapped in the face. Most times, because of whom he is and the money he has, he's willingly encouraged rather than discouraged to continue his sexual flirtation. Only, when given the okay to continue in his foreplay, when his sexual desire is reciprocated in kind, instead of accepting his model's green light and acting upon her sexual desire and her invitation to have sex, his light immediately turns red and his sexual desire for her wanes. It's all in the foreplay with him, as he prefers the chase rather than the capture. For him, the fun part is in the teasing and not the actual sexual act. For him, he needs to bring out to see and feel her sexual desire to help him with his artistic inspiration.

"Are you ticklish my dear," asked Peter of his model, as he ran a clean brush down her naked body.

"A little," she said with a giggle.

"I use my paintbrush as an extension of my tongue," he was quoted as saying in an artsy magazine. "Before I dip my brush in paint, before I begin my art of painting her beautiful body, I tease her nipples and tickle her clitoris with my clean brush to see if she wants to play. I've even been known to slowly run a delicate finger all the way down and then all the way up in between her ass cheeks. Most times, the models don't know if I'm inappropriately touching them or painting them. It's all rather naughty fun," said Peter to a friend.

"It's more erotic than it is sexual when I ask them to bend forward and spread their ass cheeks with both hands so that I may paint the tiniest area that may be seen by the eye of a discriminating patron of the arts. Some are embarrassed to give me such an intimate view of their bodies while others are delighted to satisfy whatever is my whimsy. Those who like to play, those who are thrilled and titillated with my teasing by their giggles and goose bumps, they are the ones that make my cock grow and harden with the pleasure of their obvious delight and sexual desire for me. They are the ones who inspire me to paint. Then, I slowly and deliberately stroke a swatch of paint across her supple breast, as if it was my saliva, while watching her nipple grow erect from the light touch of my soft bristles."

Just as Peter cannot paint someone he loathes, Peter cannot paint someone who he is attracted to, which may account for some of the inappropriate touching and teasing he does, as an excuse, perhaps, to inspire his artistic inspiration. A romantic connection would adversely affect how he viewed and painted his subject. Obviously, for him not to take his teasing further when his sexual desire is reciprocated, he is the one who must summon the self control necessary to reject her. It is then that he is able to clear his mind of her required for him to paint a beautiful naked woman without being unduly excited and hindered by the sexual thoughts of her. That is, at least, is what he tells the models who are offended by him inappropriately touching them. Now, that the sexual interference is over, he's ready to paint.

With hundreds of Nude Fests across the country and the world over, from Daytona Beach to Venice Beach to New Orleans Mardi Gras to Brazil's Carnaval, and especially those held in the Florida Keyes, there are plenty of painters who will paint a fair representation of art on the naked body of a woman for a price. Yet, when judged by their meager talents, they are amateurs compared to Peter. Peter is aghast by the images he's seen of their body art. He compares their artwork to a child coloring in a book or painting a picture by numbers.

Some painters paint expensive houses, some painters paint custom cars, and some paint portraits, landscapes, or still life that proudly hang in museums. Peter is the master of nude body painting. He can paint anything on any body, short, tall, fat or thin, only he prefers painting women who unquestionably have perfect bodies. His justification of wanting and needing to paint perfect bodies is, if his paintings are perfect, so shouldn't the canvas on which he paints. Not only can he paint whatever on whomever, he can totally disguise their body to trick the viewer's eyes into thinking that they are seeing something other than a naked woman.

When someone sees one of his paintings, they don't see the naked woman first, they see the image, whereas, those other painters who paint women, the viewer sees the naked woman first and then the artwork. Many of those other painters leave telltale signs of their inferior work by not painting the entire body, not even painting beneath the subject's breasts. Peter covers his models 100%.

He uses a special paint that still allows the body to breathe through the skin and that won't run with their perspiration, a secret trademark of his process. He even paints their eyelids and sometimes, when the woman is standing motionless with her eyes closed, its effect is shocking when she suddenly opens her eyes or moves back away from the camera to reveal that she is indeed a naked woman. People freak when they realize they are viewing a live person. The illusion of his art is even made more spectacular when his models pose in a framed cutout on a museum wall. Those who pass by think they are viewing a 3-D painting, which they are, of course, but not a live painting, that is, until the model moves.

It is a surreal experience to watch the reaction of the viewers. Peter is able to deceive the viewers' eyes and trick their brains with what he paints and in the way that he paints it. Truly, it is an amazing gift to be so talented that even though a naked woman stands before someone, they don't immediately see her nudity.

Peter takes great delight in fooling the mind's eye and transforming his naked women into unique works of art. The viewer sees his artwork and perceives it as a work of art rather than a naked body. His artwork is so consuming that even after the viewer realizes that the subject is naked, he or she falls back in on the picture and their brain returns them to the image rather than concentrating and heightening their sexual excitement of viewing a naked body. It is a truly remarkable hypnotic representation of colorfully deliberate brushstrokes that create the illusion and for someone to paint in such a way to fool the mind is like nothing else that has ever been done in the art world.

Only, unlike others who paint women, Peter never paints women from whimsy. He never paints a woman until he has been commissioned to paint her and even then, he doesn't paint her until he is inspired. Painting naked women is as serious as it is complex. He deliberates with what he will paint, as much as whom he will paint. Even with perfect bodies, no body is the same and with every body different, there are new challenges that he must overcome to move the images that control the viewers' appetite to stare and to fool their minds into thinking that they are looking at something other than a nude woman.

Unlike other less talented artists, his studio is not a tattoo parlor. He doesn't accept suggestions from women who have their own ideas in mind of what they'd like him to paint on their body. He doesn't entertain the thought of what they want nor does he even ask their opinion. They are nothing more than his canvas, albeit a living and breathing canvas. Moreover, once he begins the painting process, he doesn't want his canvas talking. He cannot allow them to interrupt his inspiration. They serve as his canvas and nothing more, that is, other than satisfying his perversion of watching them strip naked before teasing them with uninvited touching.

He doesn't offer his naked subjects a catalog of photos from which to pick and choose a picture for him to paint. All his nude paintings are different. No two are alike. Never has he received the same inspiration from a different person. Never has he painted the same image on a woman. The women he chooses to paint have no input at all, as to whom, what or when Peter will paint on their naked bodies. It is the artist who chooses whom he will paint, what he will paint, and when he will paint. He is in total control of his art and his artwork.

He paints only from inspiration and, just as he needs time alone with the naked woman for him to be inspired, he never paints until he has visualized every minute detail of their naked body in his artistic mind. What delays his process is the same thing that makes his paintings great, he never paints until he is inspired. Sometimes it takes him days, weeks, and months to find the inspiration and then to summon the focus for the picture to develop in his mind. Many women don't like the idea of parading naked around Peter for days until he is inspired. Yet, that is how he works. His longest inspiration took him nearly a year to visualize before he started painting, but what he painted was a masterpiece of body art. Her photo hangs in the National Art Gallery in Washington, D. C.

Once he's inspired, he's a madman. He paints non-stop until his work is finished, usually within a couple of hours. Already having visualized the finished piece in his mind, he paints from memory, as if duplicating what has already been painted in his mind on her body. Most days, he'd have a woman strip before him and most times he'd send her away.

"I can't paint you today. I just don't see what there is to paint. I'm sorry. It hasn't come to me, yet. Come back tomorrow and we'll try again."

Some women wondered if he was just a temperamental artist or if he just wanted to watch them strip and parade naked in front of him before sending them away to return the next day to do it all over again. And always he photographed and/or videotaped them, even if he didn't paint them. Notwithstanding his idiosyncrasies, he always had an army of women waiting outside his studio to be painted. Certainly, it was the dream job for someone so talented and yet so perverted to paint women in the nude.

Where most carnival or festival painters charge $50 to $200 to cover the naked form with a painted public display of a picture, usually, just over the breast and stomach area, Peter charged $1,000 and up for a full body painting, depending on the difficulty of the work. Not everyone can avail themselves of Peter's services because few can afford his prices. Those who are rich can, of course. Yet, there aren't too many rich women who want to expose their bodies for Peter to paint it and there are even less rich women who possess a body good enough to expose and deemed worthy of Peter taking the time and using his valuable gift to paint it.

Over the years, Peter has become an artistic snob. No longer painting bodies that are not the perfect womanly form, he only paints those who have a body that inspires him to paint. Now, that is not to say that he only paints skinny models. He rejects plenty of models that are too thin or that have bodies that are disproportional. The bodies he prefers to paint are those that are proportional and symmetrical. He has an eye for perfection and perfection in a womanly form never comes out in cookie cutter style. Each woman's body is uniquely different. What body may work for one woman may not be right for the next. It's the whole package that inspires him.

Even though her status is renowned the world over, as point of fact, he'd never paint someone such as Oprah. Her rolls of fat would ruin whatever he was trying to achieve. Besides, it was a tragedy that something so valuable and so time consuming to paint was gone with a bit of soap and hot water in the shower. He won't even paint someone who has breast implants. He much prefers natural breasts over those who have been ruined by cosmetic surgery.

His claim to fame was his celebrity gallery of artwork. He wasn't as noticed until he painted his first celebrity, Naomi Campbell, for a television ad. Now, once inspired he'd call a celebrity, someone who caught his eye, maintained his attention, and someone who has inspired him, and ask to paint them. He doesn't have to wait to be inspired to paint a celebrity. There are enough Paparazzi photos of them that by the time he telephones them, he's already inspired. They are always flattered that the great painter, Peter, would choose them to paint. Whenever he calls, they readily drop whatever they are doing to have him paint them and even though they'd have to pay his five figure commission, they gladly pay him whatever he asks for the privilege of having him paint their naked body.

Painting celebrities is a lucrative proposition. Not only does he receive a fat fee from the celebrity but also, because he owns the rights to the photos, he receives monies earned from photographs taken by the Paparazzi and printed in publications and/or monies earned from the ad campaigns for whatever product his artwork promoted. A short list of his celebrities in alphabetical order, thus far, were Christina Aguilera, Pamela Anderson, Jennifer Aniston, Tyra Banks, Drew Barrymore, Kate Beckinsale, Halley Berry, Christie Brinkley, Naomi Campbell, Cameron Diaz, Carmen Electra, Paris Hilton, Angelina Jolie, Heidi Klum, Lindsay Lohan, Madonna, Demi Moore, Gwyneth Paltrow, Nikki Taylor, Charlize Theron, Uma Thurman, and Kate Winslet.

There were many more, of course, those who fell from popularity and who were no longer in the public eye. Since becoming successful, his criteria was that he'd only paint those bodies that inspired him and the ones he painted must have a body worth painting. Now more successful since developing that first criterion, he was even more finicky who he painted.

Generally, those who hired him were celebrities who needed to make a statement for a photo shoot or an ad campaign to market their celebrity or to promote their movie or book. Many were models employed for a company to advertise their product and Peter would paint such a befitting representation to market their naked body to advertise their product. Once he completed his painting, based upon his paint coverage, people would be hard pressed to discern that the body he painted was one without clothes, but all of his models were totally naked. It was quite shocking to see the product image enlarged on the television screen and not know it was a representation of the product painted on a naked woman, until the woman moved back or walked away from the screen.

It is safe to say that Peter has seen everyone naked who is worth seeing naked. His collection of photographs and videotape, (ahem) necessary for his inspiration was worth his weight in gold. Given the right to use their images as he deemed fit, a signed condition of painting the celebrity before he painted them, even though he has never abused the privilege of publishing their naked images, he imagined that he would auction his collection of naked celebrities at Christie's, one day. The multi-million dollar proceeds of what he imagined he'd received was his retirement nest egg.

In his job of painting nude women, he has received some odd requests. Earlier in his career, a group of bored Texas millionaires, who wanted to have a safari on their property and in their own backyard, employed Peter to paint a dozen women as jungle animals. From elephants to leopards to lions to buffalo and giraffe, Peter painted the women, as instructed by his employer. They paid him, as well as the women, handsomely. They paid the women $2,500 each to be painted and shot at with soft capsules filled with red paint but they paid Peter $10,000 to paint each of the women.

He didn't need to wait to be inspired to paint animals and the women looked much like the animals that he painted. It was an amazing likeness. Had they been walking on four legs instead of two, one would have thought they were really animals.

Before he stopped accepting their invitation to paint naked women as animals, the safari had grown into a yearly event with more and more bored millionaires joining in the fun. He's never accepted their invitation to party with them after the safari. That was never his thing to have random sex with women in an orgy type of environment. Besides, there was something really perverse about having sex with a woman who was painted as a zebra or a cheetah. The thing that got him aroused was teasing the women with his paintbrush before he started painting them. In an odd way, even though he abused their bodies by touching them inappropriately, he respected their bodies, as would any painter respect what he painted.

After he had his heart attack, after he was confronted with his fear of dying, Peter wanted to leave something of him behind for the good of the planet. Earth Day was quickly approaching and he thought what better way to celebrate the essence of the holiday than for him to paint something that might trigger those who abuse the planet to begin taking care of the planet. In appreciation to his art and in his God given talent as an artist, painting something that would help save the planet was his contribution. Since he was famous, he figured whatever he painted would be shown all over the world. What better way to make a statement than to paint a shocking Earth Day related image on naked women.

He contacted the largest ad agency in the world, Google, and asked them if they'd be willing to get together enough sponsors and enough corporate money to pay his fee for such a large project. Certainly, if though Peter was willing to devote his time and effort to a worthy cause, he still wanted to be compensated. When it came to money, he was no fool.

Working with Google, Peter formed an alliance with some of the biggest corporations on the planet. Certainly, it was a win/win for everyone involved with the project and the corporations were eager to sign up and put up their money for his commission. Among the corporations who agreed to help Peter make his Earth Day contribution were, in alphabetical order, Air France, Alcoa, Amazon, BASF, Chrysler Motor Corp., Coca Cola, Dell, Eastman Kodak, Ford Motor Corp., General Motors Corp., Genzyme Corp., Goldman-Sachs, Hewlett-Packard, Honda Motor Company, Intel Corp., Michelin, Mitsubishi Heavy Industries, Nike, Panasonic Corp., PG & E Corp., State Street Corp., The Walt Disney Company, Toyota Motor Corp., and United Technologies Corp., just to name a few of the more famous.