Kinky Jimmy

Kinky Jimmy Ken Jeremiassen, who illustrates under the pseudonym Kinky Jimmy, is a Norwegian illustrator who specializes in the painting of transsexual characters. The majority of his content is available at TransArtStudio, his official website, however some work is also available through PoonNet an interracial paysite.

In 2008 a compilation artbook was published by Eurotica, titled Gorgeous and…Hung?!: Kinky Jimmy's Gallery of She-Males in Action (ISBN: 978-1561635474). With the decline of the print industry in North America and Europe, no further titles have been made available.

Visit Kinky Jimmy on Twitter, tumblr, DeviantArt or Hentai Foundry.

The artwork of Kinky Jimmy (a pseudonym for Ken Jeremiassen, a Norwegian freelance illustrator who specializes in fantasy and erotic art) is all over the Internet. Well, not everywhere, really, but it is on a number of websites; it's easy to find. A skilled illustrator in the same league as Kimberly Wilder and Christopher Leach (both of whom I've written about in other articles), Jimmy's style is rather like that of the pinup artists of the past. His transsexual characters resemble the women drawn and painted by the likes of Rolf Armstrong, Joyce Ballantyne, Mark Blanton, Gil Elvgren, George Petty, Mel Ramos, and Alberto Vargas, except, of course, Jimmy's chicks have dicks. Most of his work (as it appears on the Internet, at least) is untitled, which requires that, to be discussed, it be described rather than simply named.

Those pieces which do bear titles suggest some of the nature and scope of his transgender art: Christina's Mommy (shemale dominatrix), Muscle Bound (Xena-like shemale Amazon warrior), Sacrilege (a shemale bride's deflowering of a nun; described later in this article), Cat Fight (a wrestling match between two erect shemales), Pleasure Bound (a hogtied shemale in a BDSM scene), Boudoir Babe (a shemale in a pink corset and black leather thigh-high boots), From Behind (a shemale in position on a bed, waiting to be taken “from behind”), Famous Friends (celebrity shemales), Dark Meat (exceptionally well-endowed African-American shemale), Big Heart (a shemale with a large cock and huge breasts standing over a woman with small tits), and More Famous Friends (celebrity shemales who bear a close resemblance, in this case, to Paris Hilton and Britney Spears).

As is the case with most artists' work, some recurring features of Jimmy's art stand out, as signatures, as it were, of his illustrations. His shemales all have boobs of a respectable size; truly monstrous, usually uncircumcised, cocks; and baseball-size testicles.

Many of Jimmy's shemales, or “hermaphrodites,” as he also calls his intersex figures, pose as individual models, some having ejaculated upon themselves; others are part of male-shemale or female-shemale couples.

In one picture, a seated brunette shemale, shown in full color and wearing a collar and a pair of mesh stockings, grasps her sizeable balls as a substantial erection rises before her tummy, pointing to her ample breasts. From her chin and breasts, drips the semen of another shemale, who appears only as a shadowy figure, standing before the full-color, collared tranny. The shadowy shemale's penis is erect; her head and lower legs are not shown. Is the shadowy figure really present at all, or is she a dream girl, a figment of the other's imagination? Perhaps the full-color transsexual has masturbated to the fantasy of orally servicing another of her kind, and the semen that drips from her face and breasts is her own.

If not, and the shadowy figure is really present, perhaps Jimmy's intent is to focus his viewer's attention upon the partner who has been ejaculated upon, rather than the shadowy figure who has ejaculated, suggesting that, for both the seated shemale and the viewer, what is significant is not the ejaculating party but the one who receives the ejaculate. Orally servicing another individual and receiving his or her semen is what matters, such a reading implies, for it is the fellatrix who is made feminine in the act of fellatio: to suck cock is to cast oneself in the feminine role; to be sucked is to adopt the masculine role. The presence of semen in one's face or on one's tits is confirmation of one's femininity as a shemale.

In another of Jimmy's works, a shemale, the top of her red slip lowered, to reveal her right breast, down to its nipple and, at the same time, ridden up, above her hips, to show her thighs, her erect cock, and her balls, half-lies, supine, in an armchair, her raised legs spread, the left thigh of which she holds back. Wearing, besides the slip, only sunglasses and a pair of black high-heeled shoes, she grasps her cock in her fist. Jimmy's portrait has caught her, as it were, at the precise moment when orgasm gives way to ejaculation, and semen erupts from her erection.

What is most interesting, perhaps, about this picture is the fact that both the armchair in which the figure lounges and the cartoon-style thought balloon above her head (filled with three exclamation points) is outlined, rather than fully delineated, in white, as if these items are themselves part of the figure's ejaculate. Perhaps this intriguing depiction of the figure's emotion (as it is represented in the thought balloon) and the armchair in which she masturbates as made of semen is meant to suggest that the sole purpose of the chair (and her psyche), at this moment, at least, is to provide a platform for the release of her sexual tension. It is, after all, we who give meanings to things, and such meanings can, and do, change from one moment to the next. During masturbation, a chair (and a mind) may serve only to serve the needs of the body. In such cases, rendering them as tentative objects made, as it were, of the very semen that one ejaculates drives home the point that they are no more substantial than their momentary (and changeable) purposes.

Some of Jimmy's paintings simply depict transsexuals in a straightforward manner, as if they were models posing for portraits. In one, a blonde with full, firm, round, high tits and flowing hips has loosed the ties that joined the front of her leather trousers, thereby revealing a gargantuan erection, jutting from her hairless groin, above a pair of large, if somewhat indistinct balls. Another picture shows a brunette tranny, dressed in an open blouse, a black fishnet camisole, and a matching pair of black fishnet stockings. She clutches a fine specimen of manhood in her right fist with enough force to suggest she seeks to strangle the rigid, rearing organ. Most of Jimmy's shemales are Caucasian, but he has also drawn and painted a few trannies of other ethnicities. Many of these portraits seem to suggest that being transsexual is a sufficient condition, or state, in and of itself, to merit portrayal.

However, other illustrations may make a political statement. One portrait shows a figure who displays an obvious, but exotic, mix of Caucasian and African-American features. A delightful combination of contraries, her union of opposites becomes a declaration of human and sexual equality.

Her small breasts are sexy foils, as it were, to her oversize cock and balls. The hair on her head is long and straight, and contrasts dramatically with the kinky hair that adorns her pubes. Her arms are raised and her hands are behind her head. Her skin tone is highlighted by the open white blouse which, covering her arms and shoulders, hangs, like a drape, behind her back. Her right leg is lifted and bent sharply at the knee, while her right thigh is straight, a posture that reveals the strength of the muscles beneath the smooth contours of her thighs and claves. She is a beautiful woman, but, beneath her sleek, feminine exterior, lies a strength that may not be readily apparent, especially when she is fully clothed.

The mix of strength and beauty, of power and grace, of virility and femininity is a heady combination of contrasting qualities synthesized in a Caucasian-African-American unity that defies both race and sex and a tribute to the ideal of multiculturalism and political, social, and sexual equality.

Jimmy also draws and paints fantasy transsexuals. One is of a prehistoric-looking, straggle-haired brunette vampire with cloven feet and a serpent-like tail. Dressed in a leopard skin, with chains hanging from the nipples of her ample breasts, her snake-headed tail winding about her left arm, she clutches a staff or scepter carved with miniature heads, one atop the next, totem pole-fashion; a pair of phalli jut from below the chin of the lowest face. The seat of her garment is torn out, to reveal her buttocks and the uncut cock and pair of balls dangling between her thighs. What Jimmy intends this picture to represent is anyone's guess, but, certainly, this is a creature that one would not care to meet in a cave or anywhere else.

In a few other fantasy pieces, Jimmy executes transsexuals whose penises are of a size that would be incredible even for Harry Reems or Long Dong Silver. In one, of a blonde shemale, for example, her testicles are the size of baseballs, and her erect penis, as thick as both her arms, rears to the level of her shoulders. It shoots quite a load, too, judging by the bukkake quantity of semen that has splattered her face, upper arms, breasts, belly, and hips.

Jimmy also portrays sex acts, of course, in his art–mostly fellatio and anal intercourse, since his illustrations' and paintings' personae are transsexuals and transvestites. In one such drawing (Sacrilege), a groom is shocked to walk in on his shemale bride while, still in her bridal gown, the skirts of which she has hiked above her hips, she fucks a nun in her ass, their lovemaking taking place, according to the background, inside the very church in which, presumably, the shemale bride was just married. This drawing, like some of the others by Kinky Jimmy, attributes copyright to Ken Jeremiassen, Jimmy's real-life alter ego.

Another painting–or painted illustration–shows twin African-American shemales. They stand close beside one another, hands around one another's waists, gargantuan cocks, as thick as their legs, rising to the height of their heads, their baseball-size testicles ejaculating an impossible quantity of semen. Their sperm splatters their faces, necks, and breasts, while, the latest, if not the last, spurt from each cock collide in midair above their erections, as if they are one in essence, as they are one in their sisterhood as shemale twins.

Many of the artist's works have been collected in his first book, Gorgeous. . . and Hung!?, which is described as “a pin-up book of deliciously endowed females” who are “gorgeously painted,” in poses depicting “raunchy action between she-males” who resemble “beautiful girls with huge tits, round asses and shlongs with. . . Balls [big enough] to make a bull proud.”

Note: Both Kimberly Wilder and Christopher Leach are themselves transvestites. As far as I know, although his artwork centers upon transsexual and transvestite characters and situations, Kinky Jimmy himself is neither a transsexual nor a transvestite.

Citation
“Transgender Artist Kinky Jimmy” Reviews & Essays - Literotica.com. 28 October 2009. Web. 01 October 2016. <https://www.literotica.com/s/transgender-artist-kinky-jimmy>.