Echotherea intimata

The journey begins in a state of deprivation and gradually moves into a world of full sensation. The starting point, “Meet Me in Outer Space,” inspired by Incubus’ “Stellar,” presents a nonbinary figure bound in shibari, with their face obscured by raised hands, blocking out sight, taste, and smell. This evokes the sensation of floating in a sensory deprivation tank—a void akin to the silent expanse of space where only the self remains.

As the series unfolds, it transitions into a space where sensations come alive. “You’re Bright as the Morning, Soft as the Rain,” inspired by Hozier’s “Too Sweet,” is not about a return to the senses but an introduction to them—an acquaintance with the body and desires for the first time. The act of licking fingers signifies this newfound awareness, with the environment filling with vibrant colors and textures.

With the emergence of sensations, complexities of joy and shame appear. “I’m Open to Falling From Grace,” inspired by Sneaker Pimps’ “Six Underground,” celebrates the body in all its forms. The figure, confidently curvaceous, embraces her form with audacity, celebrating the uninhibited physical self.

Conversely, “Cause Nobody Ever Survives,” inspired by Puscifer’s “Rev 22:20,” explores the interplay between power, faith, and control. A nude man holding a Bible in one hand and shibari rope in the other stands at the intersection of spiritual authority and dominance, embodying the tension between the sacred and the profane. These pieces explore joy, sensation, and shame, depicting the complexities of our relationship with our bodies and desires.

The narrative then shifts to internal conflict and the defiance of societal expectations. “I’ll Release Her From the Bindings of Her Teachers,” inspired by the Yeah Yeah Yeahs’ Burning, portrays two women in an intimate dance. It explores how surrendering can lead to a deeper connection, turning moments of restraint into expressions of freedom and grace.

You Gotta Know, I’m Feeling Love Made of Gold, inspired by Chet Faker’s Gold, depicts a Black woman engaged in pony play, exuding strength and grace with an air of detachment. Seen from behind, she wears a pony mask and a high ponytail, accentuated by a sleek black pencil skirt. The warm palette of brown, gold, black, and white highlights her bold presence. Although involved in the scene, there’s a sense of distance—she holds herself apart, intriguing yet untouchable, embodying a quiet rebellion. This piece blends sensuality with restrained power, capturing the tension between excitement and removal.

“Nobody Knows How to Punish Me Like Me,” inspired by K. Flay, examines themes of struggle and self-inflicted pain. The figure grips their own torso with clawing hands, leaving purple, streaky bruises in their flesh, expressing vulnerability and the complexity of grappling with one’s internal demons.

In contrast, “She’s 5’5″ with a Little Attitude” embraces the playful defiance inspired by My Type, by Bryce Savage. A woman stands confidently in a purple latex catsuit, embodying bold mischief and unapologetic confidence… and with a glass of spilled milk at her spiked foot.

The exploration of defiance continues with “You Can’t Stop Me ‘Cause My Pain is Gasoline” (2024), inspired by the raw energy of X Ambassadors’ Boom Boom Boom. This piece depicts a man lying on his back with an air of relaxed defiance. Wearing tiny leather pants, he boldly presents himself with legs splayed apart, drawing attention to the boots and the rugged rubber sole of one prominently displayed. The grayscale palette of gray, silver, black, and white adds to the gritty, unapologetic tone. This work conveys the transformative power of pain into strength, embodying raw energy and unapologetic self-expression.

The journey takes a pivotal turn with “I Know I Don’t Know You, But I Want You So Bad,” inspired by Maroon 5’s “Secret.” This piece explores the fear and vulnerability of revealing one’s hidden self, marking a transition from mere contemplation to admitting a longing, tiny and quiet, but deep in the body and mind. The mix of copper, gold, blue, and pink captures the emotional tension between the desire to share and the fear of judgment. It’s the moment of acknowledging a yearning to participate, to feel the ropes on the body, and to become an active participant in this intimate practice.

This internal struggle leads into “I’ve Wasted Time, I’ve Wasted Breath, I Think I’ve Thought Myself to Death,” inspired by Kongos’ “Come With Me Now.” Here, bound hands cradle an analog clock, symbolizing the tension between confinement and the relentless march of time. The rainbow colors set against a black background evoke a sense of urgency, reflecting the anxiety of overthinking and the fear of wasted time. The mind becomes its own form of bondage, trapping us in a cycle of hesitation and longing.

I Would Dare to Speak Its Name if I Knew What It Was Called, inspired by Bell X1’s Flame, explores the narrator’s evolving relationship with shibari. The figure, suspended in a partial suspension from a tree, is enveloped by warm autumn tones—brown, pink, orange, red, and gold. The ropes feel both grounding and overpowering, reflecting the overwhelming sensations of being held. Dandelions in the foreground highlight the fragility of fleeting moments. This piece captures the tension between surrender and self-discovery, where the sensations of rope deepen the narrator’s connection to their body and emotions.

E. intimata then moves into full immersion, where all the senses are in play. In “Forces Pulling From the Center of the Earth Again,” the figure is suspended in shibari ropes amidst a swirl of energy and tension. Gravity pulls the figure downward, grounding them in the physical world even as electricity courses through the air. This blend of gravity and electric energy evokes the push and pull of the tangible and the ethereal, heightening awareness. Unseen forces interact with the figure and the viewer, drawing us into this balance between earth and sky.

“Turn Me On With Your Electric Feel,” inspired by MGMT’s song, turns electricity into something playful and manageable. The femme figure, bound in shibari, becomes one with the glowing filaments of patio lights, radiating a joyful, fantastical energy. This piece captures the delight in harnessing powerful forces, transforming them into something that can be celebrated.

Baby, You Can Turn Me On (2024), inspired by Slack Wax’s Sex Bomb, celebrates the thrill of discovering new sensations. A man confidently wears bikini underwear with one leg wrapped in a rope harness, the crisscrossed ropes highlighting his athletic thighs and blending strength with vulnerability. The warm tones of orange, pink, and copper radiate bold sensuality, capturing the joy of exploring new ways to be turned on. The piece invites the viewer into this moment of discovery, where physicality and eroticism merge with powerful intensity.

The exploration of immersion continues with “Amber Is the Color of Your Energy,” inspired by 311’s “Amber.” A hand holds a cigar, with smoke rising to form the ghostly image of a figure bound in ropes. The use of yellow, gold, gray, and white evokes an ethereal glow, capturing the allure of something both ephemeral and intense.

The journey flows into a space of whimsy, escape, and fluidity. “Pretending I am Weightless,” inspired by Incubus’ “Wish You Were Here,” presents a figure suspended from a glider over La Jolla—not by a harness but through shibari ropes attached to a bamboo pole. This whimsical, surreal scene offers a sense of freedom and a hint of wistfulness. It speaks to the experience of sharing space and rope with someone special, amplifying the feeling of weightlessness and the poignant wish to reconnect with a companion who is deeply missed.

“I Just Wanna Go Where I Can Get Some Space,” inspired by Glass Animals’ “Gooey,” shifts to a serene environment. A female figure, suspended upside down in shibari over a tranquil lake, traces her fingertips along the water’s surface. The calm and expansiveness evoked by green, yellow, and blue hues capture a desire to escape and find peace, creating a moment of quiet connection with nature.

SOLD!

“You Free Your Mind in Your Androgyny” explores the fluidity of gender expression. A figure with rope extending up their leg poses against a pink and gold background. They cradle something inside their underwear, its ambiguity leaving room for interpretation. This piece delves into androgyny and the mystery inherent in identity, emphasizing the spectrum of gender as an essential part of the self.

“You’ll Know Exactly Where I Am” introduces a more tender element to the series. A female figure in profile, her head held high by hair bondage, delicately inhales the scent of lilacs. An angular leather collar around her neck signifies a gentle power dynamic. The interplay of purple, white, and black hues blends vulnerability and beauty, exploring the softer, more gentle aspects of submission. It contrasts with the earlier works by emphasizing a quieter, more nuanced aspect of the ethereal and whimsical.

“Echotherea Intimata” enters a phase of contemplation and transformation with “So, You Want to Play With Magic,” inspired by Katy Perry’s “Dark Horse.” This work examines the complexities of dominance and submission, capturing the tension between surrender and authority through a figure in detailed pony gear.

“So I’ll Be On My Way” explores the internal conflict between the allure of freedom and the sensations tied to restraint. A figure is present, bound, with one leg reaching toward liberation, while nearby rope shears hint at the possibility of release. This piece embodies the push and pull between the desire to address the uncomfortable and intense sensations that come with being bound. It illustrates the inner turmoil of wanting to engage deeply while simultaneously yearning for the escape.

You Will See Me Come Undone (2024), inspired by Disclosure ft. London Grammar’s Help Me Lose My Mind, captures the moment when the narrator chooses not to cut the rope. A person with brown hair is suspended in shibari rope from a tree, surrounded by a lush forest. The gold rope, against the earthy tones of brown, green, and copper, highlights strength and surrender. Nature, like the rope, embraces and holds the figure, allowing the relationship with kink, sensation, and self to mend broken parts. The figure remains suspended, letting these elements nurture them, revealing the healing power of surrender.

The series concludes with “And Everything Heals, Given Time,” where the figure, bound in rope, connects to an enormous monstera plant. This imagery represents a journey toward acceptance and balance, with the gold, yellow, and green palette suggesting renewal. The piece merges themes of restraint with nature’s inherent ability to heal and grow, leading to a deeper understanding of the self.

“Echotherea Intimata” is a series of 24 pieces blending the ethereal with the erotic, each inspired by a song. The works explore themes like joy, shame, power, and sensuality, featuring figures bound in shibari. These pieces capture the tension between freedom and restraint, inviting viewers into moments of self-discovery and transformation. Through varied emotional landscapes—ranging from playful defiance to quiet vulnerability—the series emphasizes the complexities of desire, intimacy, and the relationship between body and mind, ultimately celebrating the journey toward self-acceptance and renewal.