Description
Judith Wilson and Mark Mar
These two might just be the best bondage team of the decade. She fixes her hair and makeup, struggles into some pretty lingerie or daywear, and then gives herself to his bondage. His ropes have been carefully arranged, and he now contrives a provocative position and ties her into it — punctuating her self-willed predicament with tape, some tight cloth, or a ball for her mouth. The beauty of that is then captured, permanently and forever, for her, for him, and for us with his camera. He grants her a while to experience the tight compression of this bondage and gaggage and then releases her, and they do it again — a little differently this time and maybe even a little better. That’s how it was through most of the 1970s and has been during these beginning days of the 1980s. Judith Wilson and Mark Mar, bondage enthusiasts, collaborating in an intimate ceremony that they are now nudging to near-mystical proportions, their suggestion of a possible new art form. He is always prodding her for better work — tighter, tougher, prettier bondage — always scolding that she has value only when she is bound and gagged, like this or like this. She has come to comprehend and even be grateful for the sensual way her bondage affects so many, and she is resigned to being unwanted whenever she is unbound, ungagged, and uncostumed. She wants to keep touching us, moving us, and knows that the only way she can is to keep offering herself to bondage. With this spiritual commitment, Judith Wilson becomes an appreciated and even loved bondage artist. It is what she is best known for now and will be best remembered for 20 years from now. It is her small immortality, just as it has been with Betty, Lyndia, Jennifer, and all the others.
These two might just be the best bondage team of the decade. She fixes her hair and makeup, struggles into some pretty lingerie or daywear, and then gives herself to his bondage. His ropes have been carefully arranged, and he now contrives a provocative position and ties her into it — punctuating her self-willed predicament with tape, some tight cloth, or a ball for her mouth. The beauty of that is then captured, permanently and forever, for her, for him, and for us with his camera. He grants her a while to experience the tight compression of this bondage and gaggage and then releases her, and they do it again — a little differently this time and maybe even a little better. That’s how it was through most of the 1970s and has been during these beginning days of the 1980s. Judith Wilson and Mark Mar, bondage enthusiasts, collaborating in an intimate ceremony that they are now nudging to near-mystical proportions, their suggestion of a possible new art form. He is always prodding her for better work — tighter, tougher, prettier bondage — always scolding that she has value only when she is bound and gagged, like this or like this. She has come to comprehend and even be grateful for the sensual way her bondage affects so many, and she is resigned to being unwanted whenever she is unbound, ungagged, and uncostumed. She wants to keep touching us, moving us, and knows that the only way she can is to keep offering herself to bondage. With this spiritual commitment, Judith Wilson becomes an appreciated and even loved bondage artist. It is what she is best known for now and will be best remembered for 20 years from now. It is her small immortality, just as it has been with Betty, Lyndia, Jennifer, and all the others.
