Kimberly Wilder: An Assessment

Behind the impaled, cock-sucking dwarf, the others wait in line. The next dwarf, anticipating his turn, has his erect penis in hand, and he masturbates, a happy expression on his face, as he watches his peer please the princess.

A Christmas scene shows a lovely young miss in a transparent nightie, wearing stockings, high heels, and gloves that rise to the middle of her upper arms. As she hangs an ornament on her yuletide tree, her cock, erect, making a tent of the front of her nightgown, she holds the shaft of a large candy cane, which she has inserted well into her ass.

In a work reminiscent of Rene Magritte's surrealistic painting, Attempting the Impossible, an artist, looking suspiciously like Kimberly herself, seems to put the finishing touches to a magnificent erection she is painting--an erection that juts through a hole in her canvas and onto the painting's surface. The canvas itself has been painted to resemble a wooden fence, so that the penis that the artist paints is both an imitation of an erect prick and the actual erection itself. The stiff, hard cock that she paints is mirrored by her own erection, so that this surreal masterpiece invokes questions, all at once, about the nature of art, the nature of reality, the nature of perception, and the nature of artistic inspiration.

If Magritte seems to have been Kimberly's muse on one occasion, so, too, does H. R. Giger appear to have inspired her on another: the head of a clearly phallic monster is shown in a sketch that could well have been executed by Giger, rather than by Kimberly. Mere inches away from a splendidly tight, firm, round pair of buttocks, its tongue licks the cleavage between the sleek, fleshly spheres. Shown in profile, the glans-shaped head of the beast is equipped with a pair of jaws which, open to allow the monster to extend its tongue, are lined with sharp pointed fangs. It is phallic, but not a penis per se; it is snakelike, but not a serpent as such. The tiny, cruel eye above the jaw is inhuman, reptilian, and unnervingly predatory. As always, Kimberly's art, whether inspired by the work of another artist or entirely a product of the orgiastic pandemonium of her own inner demons, is highly original and exquisitely lovely, even in its occasional grotesquery.