A ‘peek’ into a high class, exclusive brothel

 

 Temptations of the Flesh demonstrates a particular fantasy that high-end brothels sell, with emphasis being placed on the fetish services. The work raises the question: how does religious iconography inform the fantasy being sold?

The work explores the private and exclusive side of the New Zealand sex industry from within. The high-end establishment – ‘The MM Club’, housing the second largest dungeon in the Southern Hemisphere, is a space for pleasure and pain. With privileged access, the work plays on the instinctual voyeuristic intrigue of human nature and attempts to bring a socially relevant subject to the fore. The aim for this work is to enhance discussion around the changing face of the New Zealand sex industry. It was driven by intrigue and feeling visually conditioned about the sex industry. I aspired to approach this controversial and alternative side of our society. As a young female, within the age range of many of the girls working in the New Zealand sex industry, it was interesting to learn that what I expected, as I predicted, was particularly warped.

Temptations of the Flesh was born from the intrigue surrounding spaces that are forbidden and [of] usually hidden from view. I want to grant my audience a ‘peek’ into the private world of sex work, all the while considering other cultural and social relevancies. Media and the arts representation of this taboo side of society is typically depicted through the portrayal of street workers. With less attention brought to high-class brothels, Temptations of the Flesh addresses this gap in artistic exploration. For Mary, the Madam of The MM Club & Funhouse, the main educational consideration is that “many people have misconceptions about the sex industry, they always think the worst”. And the reality is that it’s not what most people think. It’s about setting new standards to make it a much “safer, healthier, happier, viable option for people”. The atmosphere of the establishment had a fun, vibrant, polished warmth, and flirtatious mischief about it. This along with my instinctual voyeuristic intrigue empowered me to capture this reality, and allow the viewer a chance to explore the space within the confines of a gallery. Decriminalisation, and ultimately the legalisation of sex work, will ensure the future environment is safer for both the workers and clients of prostitution. As Mary stated in an earlier interview, “reform is the first step in a really long journey.”

The works are bright, playful and fantastical. They challenge, question and confront the audience with this intriguing world. One that is regularly misunderstood, but currently on the journey towards a happier and safer future. They touch on religion, driven by the inclusion of religious iconography within the space, as well as my own theoretical connections between the two seemingly ritualistic practices.

I understand this will likely generate some controversy, but for me it’s really about extending the discussion around this often misunderstood subject.