Product Description

Several dozen Asian women -- well-educated, independent, liberated, experimentally-minded, and familiar with the stereotype of the submissive Asian female -- volunteered to participate in this highly- stylized fine art. In these photographic images by a non-Asian male, they appear elegantly nude and often intricately bound, often not just participating consensually but actually controlling the scenario, and thus the imagery, while ostensibly surrendering all power to another. These images are * a collaborative form of body art * exemplify the traditional values of classic creative studio photography -- formal exploration, spatial drama, nuanced lighting, concern with chiaroscuro, attention to textural detail These unusual partnerships succeed, the photos a microcosm in which they move through and past stereotypes into a zone of unexpected freedom and mutual empowerment. With an introduction by A.D. Coleman.

Product Details

• Amazon Sales Rank: #422993 in Books
• Published on: 2002-04
• Original language: English, German, Spanish, Italian, French
• Number of items: 1
• Binding: Hardcover
• 160 pages

From the Publisher
What should we make of a project in which several dozen Asian women -- well-educated, independent, liberated, experimentally minded, and certainly familiar with the stereotype of the submissive Asian female -- volunteer to participate in the production of highly stylized fine-art photographic images by a non-Asian male in which they appear nude and elegantly, often intricately, bound? In the B&D scene, one speaks of dominants as "tops" and submissives as "bottoms." So I could propose that, in the parlance of that sexual preference, these women are "topping from below": not just participating consensually but actually controlling the scenario, and thus the imagery, while ostensibly surrendering all power to another. I could instead describe it as a collaborative form of body art, in which artist/photographer and model/performer join forces as partners to generate potent iconic imagery addressing the complex relationship of physical and psychological constraint and release, restriction versus freedom, control and abandon, the dynamic tension between feminine and masculine energies. Alternatively, I could analogize these works to the experimental Japanese dance form called butoh, in which motion and activity periodically resolve in suddenly frozen, dramatic configurations. Or propose it as a branch of sumi-e, classic Japanese ink-brush painting, wherein precise execution of spontaneous gestures results from meditative inner sources in combination with careful, patient preparation. From a different perspective, I could suggest that, for both the photographer and his subjects, this represents a form of play: play with each other, play with cultural assumptions, play with the body, play with the medium of photography, play with the minds of the viewers of these pictures. I could point out that these pictures exemplify the traditional values of classic creative studio photography -- formal exploration, spatial drama, nuanced lighting, concern with chiaroscuro, attention to textural detail -- while investigating that creative territory in which the artist's inventiveness and the imaginative function of the libido find common ground. However we consider them, these dualities and contradictions resolve and these partnerships succeed. Together, Steven Speliotis and his accomplices construct a microcosm in which they move through and past stereotypes into a zone of unexpected freedom and mutual empowerment. By offering these visions for our consideration, they invite us to join them there. So, finally, I could recommend that we let these images speak for themselves, and listen to the subtle resonances of the varied voices in which they do so.

A. D. Coleman©

About the Author
About Steven Speliotis

Steven Speliotis first became recognized as a professional photographer in Salem,Ma. Where he was hired to photograph the Salem State College Dance Company’s Annual Dance Concert and the S.S.C. Theatre Department’s yearly productions. Steven’s studies also include: Ballet & Modern Dance, Sculpture and Art History. His early photographs of dance & portraiture were exhibited in several juried shows and won him much acclaim. As a young photographer, Steven was encouraged to continue what had begun to be his career as a Dance, Theatre & Portrait Photographer.

Steven met and worked alongside his mentor, the late renown Dance/Celebrity Photographer Kenn Duncan and when Mr. Duncan died in 1986, it was bestowed upon Steven to continue Duncan’s legacy of thirty years. Steven resides and has been working in New York for fifteen years. Speliotis’ photographs have been exhibited, collected and published widely. Ie. LIFE, Time, L.A.Times, the Village Voice, Art in America, Dance Magazine and Exercise for Men Only, to name a few "ASIAN BONDAGE" Photographer Speliotis explores his fascination of Dominance & Submission with the Asian female as he expertly sculpt and bound each subject in white rope. Having studied Asian Traditions, dance, yoga & sculpture Speliotis choreographs his subjects through each session creating provocative images to dazzle the eye. Believing we are all in some type of "bondage," Speliotis specifically chose the Asian female as his model for his project from his personal affinity with the history of women in Asian cultures.

Customer Reviews

A Wonderful Vision of Contorted Human Sculpture
In this beautiful book of 160 pages, New York art photographer Steven Speliotis explores his fascination with dominance & submission. He specifically chose to work with Asian females, utilizing the their long and well known history of cultural subordination as the pedestal on which this work stands. The noted contrast between the white ropes that he uses along with his models' silken white skin with the dark and isolated studio in which they are "imprisoned" is what captures you. This, one might say, is Steven's secret ingredient - a potent use of minimalism. That's all it is: black hair and black shadows, white rope and white skin, all knotted up into distended, contorted, striking human sculptures.

There is a message here. And Speliotis conveys it with the exquisite photography that he has become renown for. Commanding, brooding, enthralling, Asia Bondage has both the material and attitude to appeal to a wide range of interests. The photography is MAGNIFICENT!!!

Artistic but not skillful
The 147 full page black and white photos are pleasant to leaf through. The composure and lighting of each picture is immaculate. However, the bondage itself is mostly decorative rather than functional. I was disappointed by the sloppiness of much of the ropework, especially considering the tradition of elaborate and strict positions that Japanese bondage engenders. This book would make a respectable coffee table conversation starter for those so inclined, but is in no way suitable as a "how to" reference. The pictures depicting rope coiled around the neck could be potentially dangerous - don't try this at home!

Don't judge a book by its cover like I did.
I was doing some research for an art project concerning human bondage, when I stumbled across this book on Amazon. I liked the photograph on the cover, and the book seemed to get good reviews; but, let me tell you, it's nothing but a disappointment. 1) The photography could have been better. 2) The women are plain-Janes. No excitement here, just boring pictures. I'll give the photographer some credit by saying he HAD a good idea (notice I said "had"), but when it appears he had an exceptional idea, he fails to convey it through his photographs. Given the photographer's experience and knowledge, I think anyone could have done better at exposing Asian bondage and sensuality. Don't buy this book, you'll regret it.