I remember the first time I saw Whitney Conroy, in a Viv Thomas film called Hotel Eden. She played the fun and flirty babe who tempted Lorena away from her girlfriend, and she suited the role perfectly. With her sunny smile and soft, girlish curves, she was a breath of fresh air – and she brought a natural energy and playfulness to the sex. It was clear she was a talent to watch, and how exciting it has been to see her mature into a multifaceted star in such a short space of time. Still only 21 years old, Whitney has become a sophisticated, highly erotic performer who has been fittingly described by a SexArt member as a “sexual tyrannosaurus”!
In today’s new Andrej Lupin movie, ‘Lift’, there are so many superb moments that capture her unique appeal. We get to see classy Whitney, looking stylish in her spectacles and business attire, her hair in a chic updo. Her directness – stopping the elevator with an appraising look at Margo, which conveys her lustful intent perfectly, tells us everything we need to know – this is a confident, powerful woman who knows exactly what she wants. The expression on her face is Killer Moment #1. No wonder Margo does not put up even token resistance as Whitney pins her against the lift wall for a voracious kiss.
My heart started to beat a little faster as Margo pulled up Whitney’s skirt to display her lace stocking tops; Whitney has an amazing ass and it looks delicious framed by sexy stockings. Killer Moment #2, for sure!
Killer Moment #3: Whitney turns Margo around and spanks her bottom before pulling her panties down around her thighs. I love the way she takes control. She seems almost masculine in her dominance and appetite, but utterly feminine in her beauty. It’s an irresistible combination.
Killer Moment #4: Whitney keeps a hand clamped around Margo’s breast as she goes down to eat her pussy. The ravenous onslaught of her fingers and tongue has Margo moaning with delirious pleasure. Rapidly followed by Killer Moment #5: Whitney offers her sticky fingers for Margo to taste her own pussy juice.
Killer Moment #6: Whitney perches a stocking clad leg up on the handrail of the elevator, giving Margo access to her splayed pussy. After this – I’ll be honest – I lost count. It’s THAT good. The sight of Whitney, shirt pulled open, legs spread as she rides Margo’s hand, is overwhelmingly pleasurable; and her orgasm shakes her to the core.
Can you tell you much I love this girl? I think she’s something special, and I enjoyed this movie immensely. I’d love to hear about your favorite Whitney moments…
When Tracy “think(s) about the universe”, she can’t help but think it ever expansive, ever alluring, and yet ever elusive: a grand canvas of intriguing possibilities that seemingly always exceed her grasp. “(Her) only desire (is) to (attempt to) explore it, (understand it) and experience it as fully as possible”. It seems that for her, these sentiments apply to sexuality also, and, though only now becoming consciously aware of it … love too.
His bravest, boldest, grandest, and yet most emotionally intimate work to date, the interestingly titled ‘Love For Sale’ is Alis Locanta’s ‘Interstellar’: an ode to humanity’s ‘universal’ [intended as polysemy] experiences with the complexities of love and sexuality.
When we first meet Tracy her views on love and sexuality are divorced, sentiments distinct of one another, each represented by a separate life: one of “light”, which she presents to the outside world, and another “behind the door”, her “dark” and “secret” one. The intelligent woman she is however, Tracy understands that there are no ‘Secret(s): [Vol. 2]’ to it. Though invigorating, her first foray into prostitution involves a rather icy Dom/Sub encounter, one lacking fulfilling ‘Heat: [Vol. 2]’. Yet Tracy seems to have acknowledged this fact, accepting that she’s fundamentally a ‘Slave: [Vol. 2]’ “ready to sell what (her customer) wants”: a service through which Agatha is able to push and test the limits of her sexuality. And for now, Tracy seems introspectively resolved to play her role as the “bought and paid for” prostitute.
Her meeting is essentially a ‘Ballo: [Vol. 2]’ for one; or more accurately, a Ballo for each. I say that because, given her articulations, Tracy’s profession seems to provide a satisfying scenario to her also. Through prostitution Tracy’s able to earn a significant sum of money, and thus make a comfortable living; but more significantly, she, like her customers, is able to ‘comfortably’ satiate “the dark side of (her) nature”, her “secret” life.
Though at this point in time she may believe otherwise, I don’t think Tracy’s role as a prostitute, and the impact it has upon her life, or lives, is as unimportant or uninfluential as her soliloquies suggest. In fact, the contemplative, “complicated” and perplexing being she is, Tracy regularly contradicts her own minimalistic assertions about how the universe “puts all our little lives into perspective”: a distinct sign she’s still learning. On the whole, Tracy’s story is far from “black and white, easy or simple”; it’s a grand explorative journey as she discovers that her life and desires are “bigger than (prostitution and sexuality), so much bigger”.
A Kiss That Changed Everything
Yes, “it’s fucking hot”, but for my liking, Tracy’s life “behind the door” is not what she, or we for that matter, would consider to be ‘truly’ fulfilling. I don’t get the feeling Tracy genuinely wants to be a prostitute. Given the fact that she’s expressed a desire to “never ever want to go back” however; I think it’s safe to say she immensely enjoys being ‘used’ as one. Despite this, I think she’s searching for something deeper and more complete; something that perhaps amalgamates with sexuality… and it was a single kiss that informed Tracy that such a thing exists.
Through that kiss and its aftermath, we’re able to gain sincerest psychological and emotional insight into how Tracy currently views herself, her lives and consequently, her ideas of love and sexuality. Her pensive reaction and its eventual outcome; an ensuing encounter supposedly “dealing in sincerity (and) passion” with customer number two (Amarna); indicate that her attitudes are changing.
No longer ‘going gentle into that good night’, prostitution venture number two finds Tracy throwing herself enthusiastically into the unknown yet again. This time around however, she’s a little wiser, a little more informed, but at the same time, a little misled.
Tracy begins to postulate how we as humans are often “afraid” of exploring the “dark side of our nature”, particularly within our intimate, loving relationships. Her thoughts ‘St(r)ay’ toward feelings of vulnerability and judgment, something we personally, (for the most part), cultivate in so-called ‘true’ love. “Afraid to talk about it”, we’re uncertain as to what we “can safely explore without going too far, or becoming something or someone else’. Thus we “(deny our) freedom and (deny) who or what (we) really are”: “giv(ing) up (our) ability to feel, to express, and to experience truthfully”. Ultimately, (and again, for the most), we contribute to own sexual dissatisfaction, which for whatever reasons, drives us to search for “what (we) want (somewhere) else”. I think what Tracy wants is someone she can love warmly and deeply, but at the same time with dark “energy and passion”: a princess/prince on the streets and a prostitute in the sheets. Unfortunately it’s those misunderstood sentiments that take Tracy’s journey on a heart-wrenching turn.
As reliable a narrator as those in Shakespeare’s ‘Hamlet’, Tracy is unable to perceive the flaws in the evolution of her thinking pattern. That one powerful kiss and her subsequent encounter with Amarna have deluded her into believing that love can be found in prostitution. But the metaphor of something fake existing between these women cannot be ignored. Tracy is still a “bought and paid for” prostitute, and as much as our title suggests otherwise, prostitution is ‘Sex For Sale’.
Yet as I’ve said above, Tracy’s life and desires are “bigger than (prostitution and sexuality”. She and her customers are not so different from each other. She’s a prostitute for the same reason her clients use her, and yet they, like her, are searching for sex in that form because they’re desires are not being satiated in loving relationships either. These women aren’t searching for sex per se; they’re searching for a loving relationship that is sexually fulfilling. And for all those “hours and hours (spent) gazing at the stars and wondering, (if) maybe there was someone like (her) on a another planet, thinking about the same things”, all Tracy needs to do is turn her gaze to the answers right in front of her…
End, Part I.
Your thoughts and feedback please. It would be immensely appreciated. Tell me what you think about Tracy and her journey so far and where you think it’s headed… I have an idea, but I’d like to hear yours first please.
Filling the shoes of legendary filmmaker Viv Thomas might seem like a daunting task, but not when you have the inspired team of director Andrej Lupin and producer Ariel Piper Fawn on hand!
Andrej is a renowned director here at SexArt; Ariel needs little introduction, having been one of our most popular models before moving into her highly creative production role. There is no doubt her understanding of female sensuality and eroticism has played a huge role in reinvigorating the Viv Thomas brand since it became part of the MetArt Network.
The dynamic duo came in with a bang with the compelling ‘Sexpresso,’ and followed it up with the even more impressive ‘Domestic Desire.’ We’re now seven movies in, at the time of writing, and each has been entirely individual in terms of plot and production style. I can’t wait to see what they come up with next!
I was lucky enough to bag the enviable task of chatting to Ariel about the vision she and Andrej have for VivThomas.com. Here’s what the delightful redhead had to say:
Ariel, you shot with Viv Thomas several times – and you were an incredibly popular model on the site! What was it like working with Viv?
APF: I loved every shoot I did with Viv. It had a lot to do with their style – clothing, make-up, different locations, storylines – the kind of thing Andrej and I enjoy shooting now. I liked that the scenes fitted into a story, it was so different from the work I did with other directors. What I really remember most from the shoots was Viv himself. I always loved him, I felt like he was family to me.
Which was your favourite of the movies you appeared in?
APF: Summer Camp Secrets. I really enjoyed the whole experience. Work, girls, crew, dinners, fun, locations – we had a great time!
How do you and Andrej feel about taking over the reins and shooting movies for VivThomas.com?
APF: It is an honour for us! A lot of members on the site have been worried that we would just make the movies similar to the work we do for SexArt, but we don’t want to do that. We already see a lot of differences in the way we shoot for VivThomas, and we have more changes planned. The offer to shoot content for VivThomas came very fast, and I think we are improving our work with every production. We want to bring our own vision, but combine it with the magic from the classic VivThomas movies.
Do you think having worked with Viv gave you a better idea of what the VT fans like to see?
APF: I’m not sure about that, because tastes have changed over the years. When I worked with Viv the equipment and production methods were quite different from what we use now. Also, we always had very strong make-up; I would love to bring back the old-fashioned make-up and styling, but I’m afraid people would not like it!
Can you give us any hints about what we will see next from you?
APF: We are busy planning our next shoots, but I don’t want to give away too much! We read all the feedback from members, we want to learn from it and do our best to make people happy!
Classic Viv Thomas magic, Andrej Lupin’s brilliant direction, and the super-sensual vision of the exceptional Ariel Piper Fawn? Sounds like a recipe for extraordinary erotic art to me!
As a blue-eyed blonde English rose (named Rose – I guess my parents had no imagination!) I find myself drawn to girls very different from myself. Naturally I would not kick a blonde bombshell like Whitney Conroy or Tracy Lindsay out of bed, but the beauty who catches my eye in a crowded bar is far more likely to be an olive-skinned temptress or coffee-coloured cutie. Or a flame-haired fox, but you already know about that!
Hispanic girls are my weakness. You remember that song ‘Latin Girls’ by the Black Eyed Peas? That’s the soundtrack to my summers. And when I hear a pretty girl speaking Spanish – especially if she’s looking into my eyes and saying something really naughty – I go weak at the knees. So, no wonder the new episode of ‘Girls Love Sex,’ starring Valencian honey Alexa Tomas, gave me such a thrill of anticipation.
I first saw Alexa in ‘Io Ballo Da Sola 2,’ which was released on SexArt in early September – and 40 seconds in, I was hooked. Singing (badly, as she charmingly admits in today’s interview) and dancing along to music only she can hear through her headphones, Alexa is the epitome of the vibrant, sassy, effortlessly sexy Spanish señorita. As her high spirits turn to arousal and she begins to touch herself, it’s clear she is very comfortable in her own beautiful skin.
It was a delicious introduction, but it was her next movie, ‘La Cinco de la Tarde,’ that really made me fall hard. Alexa is seen abandoning her desk at precisely 5pm to keep a promise she made to her lover, masturbating as she thinks of him. It’s stylish, sensual and very erotic, with a sensational orgasm. The postlude is another revelation, as at last we, the viewers, get to enjoy the full intensity of Alexa’s lustful gaze.
No surprise, then, that today’s new episode of ‘Girls Love Sex’ has me at fever pitch. First we get to see Alexa talking, in her melodious native language. She is confident, animated and engaging, and she has such exquisite bone structure that you just know she will be a beauty her whole life. As she vividly describes an experience she had with some girlfriends, it feels like she is exposing her personal sexuality to us; her pleasure in her own erotic awakening is a thrill to watch. Long, tanned legs spread, she treats us to a spectacular view as she rides her fingers to a noisy and prolonged climax. The postlude again shows us another side to Alexa, her flirtatious nature to the fore as she wriggles her lace-clad booty in our faces. I’m utterly smitten…
Do you love Latin girls too?
Collaborating with a visionary filmmaker takes a writer on a trip from the vastness of outer space to the intimate, intricate confines of the human heart and soul.
I've just seen the first episode of Alis Locanta's soon to be released four-part series, "Love for Sale." When the director told me this was, and I'm quoting directly, his "best work to date," he was not exaggerating. And I have to agree with him. But there's a story that needs telling before I tell you more about the film itself. And that story helps explain why Alis Locanta and I were having a conversation in the first place.
In addition to my weekly posts over at the Metart blog, and my more sporadic contributions in this space, I've been writing the synopses that accompany every Sexart erotic feature for nearly two years. And after watching and describing well over two hundred films I decided to write a Sexart screenplay of my own.
That screenplay was well received, I'm happy to say. And, in fact, it's already been produced, and should be released in the near future. It's called "The Morning After," it's the first feature Alexa Tomas ever shot for Sexart, by the way, and I'm very pleased with the film and the entire experience of seeing it to completion.
But, more importantly than all that, writing "The Morning After" served as my introduction to Alis Locanta. And it opened the door to a unique and rewarding opportunity.
During the production of "The Morning After" Alis casually mentioned a project he'd been working on for some time. I was intrigued, of course. Then he asked if I'd be interested in collaborating on the project with him. It took me much longer to type this sentence than it did to answer: "Yes!"
This led to a round of lengthy conversations during which Alis described, in minute detail, his creative process and the way he structures and executes his productions, with a bit of biographical info, philosophy, and film theory thrown in. He
also told me, in the broadest of outlines, about the project titled "Love for Sale." Then he sent me his original screenplay for Episode 1.
Once I'd read Locanta's script we had further conversations about his vision and what he hoped I could contribute. I wrote and revised. He read, wrote some more, and revised. And so forth, until we had a polished final draft we were both happy with.
That first episode was the heaviest lift for me. Once Alis and I were both on the same page — both figuratively and literally — getting Episodes 2. 3, and 4 finished was a lot easier. And that ease came in handy because I was rushing to complete the final episodes while Alis was already shooting the first one.
But what, exactly, is "Love for Sale," and what's it about? Well, in addition to being Alis Locanta's most conceptually and stylistically ambitious work for Sexart to date, it's a story about a woman, and the universe, and what is sometimes called "the oldest profession."
Tracy Lindsay plays the lead, and she does an exceptional job. It's safe to assume that this is the most complicated and elaborate role she's ever taken on, and she acquits herself brilliantly. She has quite a lot of dialog to deliver, in English, dealing with sophisticated, challenging, and nuanced subject matter, and she delivers a wonderful performance. She's as naturally beautiful as ever, perhaps even more so. And her sex scenes? Unbelievably hot. The hottest of her career-hot.
I could go on, of course. But a detailed plot synopsis would not enhance your enjoyment of "Love for Sale." It is, as you'll soon see, complex. Please, expect the unexpected. Be prepared to be challenged. But also prepare yourself for a beautiful, powerful, intriguing, surprising, and intensely erotic experience.
"This has easily been my biggest step since I started shooting for Sexart," Alis Locanta explains. "I've been thinking about a project like "Love for Sale" for a long time, but I was waiting for the right chemistry. In the last few months many things have changed: Estelle Adams is
now my producer, and she has been helping me a lot with shooting better films. And then my collaboration with Adam really helped improve my story structure. I felt the need of a great writer and he did a great job. Last but not least...well...Tracy! I was the first to shoot her for Sexart, in "Valentina," then our paths separated. When we met again — to shoot "Be My Slave 2" — we were both 'upgraded.' We'd both grown and gotten better. I think we were able to use our experience to help each other do our best work. She was perfect for "Love for Sale," she was perfect for my most complex project."
"Love for Sale." One ambitious project, masterfully realized. Four episodes, each one unique, each one breaking new ground, but all four pieces combining to create a cohesive whole. It was my honor and privilege to be a part of it.
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