I’m not sure I have much to add as far as commentary on this: except to say that every single damn time I see it my tummy does a backflip and I get impossibly wet.
On second thought: I really like how things start off full rendered and then slowly drift towards increasingly rough sketches. This gives the scene a sense of insistent immediacy; it also underscores the way that the positioning and gesture of the hands anchor the compositions and erogenous zones are emphasized with heavier lines that not only entice the eye but suggest an inviolable boundary between bodies–in turn enhancing the transgressive nature of what’s depicted with an even more compelling allure.
I also really dig the minimal use of color to add not only a sense of lividity but also to make the expressions more concrete.
Also, this works whether or not you know that it’s apparently illustrated Supergirl erotic fanfic.
Much of his work was founded upon an intense preoccupation with eroticism. In that, the above drawing is typical of his work. (Although it’s interesting that precious little is known about Lucio Dornano who authored the sonnets this drawing was created to accompany.
More than that what stands out to me is the essential Spanish-ness of the work–specifically influence by Picasso and Miró.
Eme sidesteps much of the earlier work–instead engaging with the figurative styling of Picasso’s mid-career work (think Guernica and Massacre in Korea) filtered retroactively through the earlier more strictly cubist output. (Bottle of Anis del Mono filtered through a super concentrated examination of Fernand Léger might as as well be the template for Eme’s Black III.)
However, what’s even more striking is when you consider the interplay between the use of space and line (also: the interplay between the two) as it pertains to compositional form in the context of the influence of Miró.
The use of line in this is truly exquisite–the way outer edge of the body is firm and between subtle shading and softer lines, a sense of the softness of the feathery hair and skin are embodied.
Compositionally, I’m not sure the top drawing works on its own. There’s too much negative space to the far right of the frame–the eye scans past the face and doesn’t return.
Yet–in combination, as a diptych–there’s a range of strangely authentic, unselfconscious experience presented that is fascinating.
A strange thing that I experience is there are times when my empathy is running hot or something and an scared emoji can make me worry about the poor thing’s well being. Most of the time–I really am phenomenally bad at interpreting expressions.
However, looking at these I’m certain that the top drawing might best be a depiction of the feeling we term ‘pensive’; while the lower one is almost certainly ‘abandon’–in the sense of something letting go as opposed to being let go of. (’Abandon’ a strange word that encapsulates both the experience of the subject and the object, depending upon contextual deployment.)
I sort of feel like this is an accurate depiction of the extreme poles of the spectrum upon which my own feelings exist.