Vex Ashley

Sex 'fuses' bodies, entering, penetrating, consuming, holding, manipulating physical forms to remove any space left between us, pushing through spacial boundaries to experience an intense and vulnerable closeness and combination. 'Fuse' also references electricity, electrical currents and overload, whereas Carolee Schneemann shot her film Fuses in 1967 on analog 16mm celluloid we make films, fuck and communicate using digital, electronic devices, currents flowing across continents onto screens - now more than ever in the wake of the pandemic. A film made in lockdown isolation that honoured the potential future collaborations missed and explored new ways to fuse and fuck across distances. Bodies projected over and merging, the light from them captured through lenses into binary, transmitted across distances into shimmering pixels on screens thrown in beams of light onto and into another body.

There's something so special about adult films pre internet digitization, VHS tapes copied and circulated in your community, mailing lists and screening parties and brown paper bags were the distribution model. The intimate privacy of a time capsule contained in a black plastic film cartridge, hidden in the back of a drawer, labelled as something inconspicuous so as not to arouse suspicion - hidden treasure.

All that glitters is gold, images built in the pooling trails across skin.

An exploration in narcissistic desire, a kind of autoeroticopsis in being the subject of desire for yourself.

Momentum, moments, movement mix together in bliss.

Treating bodies like botany, in intense, investigative close up, scientifically graphic, reveals them at their most intimate but also maybe their most anonymous and dissociated.

Connection through shattered mirrors, black paint, candles, and cold cement

Why do we like to be called Mommy? The archetype of mother looms over us across cultures, it’s powerful and ubiquitous so it’s unsurprising that it can show up in our sexual psyches.

Visual distortions mixed together providing and interconnectedness found only within another's embrace

The thiasus, was the ecstatic retinue of Dionysus.

Our orgies are acts of ritual celebration that against the odds, somehow, still here in the writhing and intertwining of smoke, sweat and bodies.

Tender kisses, sharp nails, and desire laid out in a bed of flowers

Sleep is such a vulnerable state, it requires a complete letting go of control. Slipping out of waking consciousness into another world. A world controlled by an unpredictable subconscious that loves to play tricks on you. Watching someone fall asleep is to see them move through different states of being, exposed and unaware.

A taboo dive into divine nature providing a reminder of what greater connections we possess with the things around us

Transgression in the form of unyielding bodies melding together and the rebirth of self it causes

You're watching everything pass you by but you're separated, removed from the outside world by a pane of glass, sealed in your own private reality. Time moves differently inside. You're able to observe and be observed by other drivers that pass but you're each just watching from inside your own tiny parallel universes. Surrounded by these endlessly travelling lights and shadows, ghosts of the outside creeping in. Inside a moving prism of glass and mirrors reflecting cycling scattered images from another time and another place.

The process of turning base material into gold, the philosophers stone. A metaphor for the way certain acts and bodily materials are treated as obscene and base and how powerfully transcendent they can be transforming them into elixir, into gold, something precious.

Softness and wetness and opening yourself up. About consuming and feeding, being merged and joined. One consuming the other, both folding into each other, temporarily one.

The act of penetration at its core is invasion, sometimes intensely and acutely desired and begged for and sometimes more complex. The sensation is intense and can be entirely changeable depending on the context in which the act takes place. This film is about invading and consuming. The monotonous, sterile mechanics of the fuck machine is hypnotic, the unwavering noise and repetition of movement that’s entirely oblivious to desire or want. It continues to thrust and fuck regardless.

Not fucking but being fucked. Being taken. Taken out of your brain and into your body. Sex that knocks sense out of you for a second. Where you’re weightless and grounded, pinned and stretched. No pleasantries, no thinking just being and doing. Guts, sweat and pumping blood. Giving up and giving in to your body.

A transference of energy; an exothermic reaction. The marks are product. A way of distilling intangible energy into physical permanence. Skin is the carrier and the canvas.

Set in the 1600s, a group of women are filled with an uncontrollable desire to run, touch, and tear themselves apart

It wasn't night and it wasn't day, but some lurid third interval that had suddenly slipped between them and would never end.

The body and all it's interiors. Pushing back against the idolisation of the body as an immutable object to be sanitised and preserved. Not a doll to be put on a shelf and admired. The body - not as a temple - but a playground to be entered, spread, explored. Slippery openings, spit and flesh and hair. Playing in the mess. Limbs merging, breaching the boundaries of the internal. Entering each other, going where you shouldn’t, merging form.

Hazy, dreamy, breathlessness. Gasping, exhaling.

Hazy, dreamy, breathlessness. Gasping, exhaling.

Sex 'fuses' bodies, entering, penetrating, consuming, holding, manipulating physical forms to remove any space left between us, pushing through spacial boundaries to experience an intense and vulnerable closeness and combination. 'Fuse' also references electricity, electrical currents and overload, whereas Carolee Schneemann shot her film Fuses in 1967 on analog 16mm celluloid we make films, fuck and communicate using digital, electronic devices, currents flowing across continents onto screens - now more than ever in the wake of the pandemic. A film made in lockdown isolation that honoured the potential future collaborations missed and explored new ways to fuse and fuck across distances. Bodies projected over and merging, the light from them captured through lenses into binary, transmitted across distances into shimmering pixels on screens thrown in beams of light onto and into another body.

Sex 'fuses' bodies, entering, penetrating, consuming, holding, manipulating physical forms to remove any space left between us, pushing through spacial boundaries to experience an intense and vulnerable closeness and combination. 'Fuse' also references electricity, electrical currents and overload, whereas Carolee Schneemann shot her film Fuses in 1967 on analog 16mm celluloid we make films, fuck and communicate using digital, electronic devices, currents flowing across continents onto screens - now more than ever in the wake of the pandemic. A film made in lockdown isolation that honoured the potential future collaborations missed and explored new ways to fuse and fuck across distances. Bodies projected over and merging, the light from them captured through lenses into binary, transmitted across distances into shimmering pixels on screens thrown in beams of light onto and into another body.

There's something so special about adult films pre internet digitization, VHS tapes copied and circulated in your community, mailing lists and screening parties and brown paper bags were the distribution model. The intimate privacy of a time capsule contained in a black plastic film cartridge, hidden in the back of a drawer, labelled as something inconspicuous so as not to arouse suspicion - hidden treasure.

There's something so special about adult films pre internet digitization, VHS tapes copied and circulated in your community, mailing lists and screening parties and brown paper bags were the distribution model. The intimate privacy of a time capsule contained in a black plastic film cartridge, hidden in the back of a drawer, labelled as something inconspicuous so as not to arouse suspicion - hidden treasure.

All that glitters is gold, images built in the pooling trails across skin.

All that glitters is gold, images built in the pooling trails across skin.

An exploration in narcissistic desire, a kind of autoeroticopsis in being the subject of desire for yourself.

An exploration in narcissistic desire, a kind of autoeroticopsis in being the subject of desire for yourself.

Flux is the conduit for transference of energy.

Flux is the conduit for transference of energy.

Momentum, moments, movement mix together in bliss.

Momentum, moments, movement mix together in bliss.

Treating bodies like botany, in intense, investigative close up, scientifically graphic, reveals them at their most intimate but also maybe their most anonymous and dissociated.

Treating bodies like botany, in intense, investigative close up, scientifically graphic, reveals them at their most intimate but also maybe their most anonymous and dissociated.

Connection through shattered mirrors, black paint, candles, and cold cement

Connection through shattered mirrors, black paint, candles, and cold cement

Why do we like to be called Mommy? The archetype of mother looms over us across cultures, it’s powerful and ubiquitous so it’s unsurprising that it can show up in our sexual psyches.

Why do we like to be called Mommy? The archetype of mother looms over us across cultures, it’s powerful and ubiquitous so it’s unsurprising that it can show up in our sexual psyches.

Visual distortions mixed together providing and interconnectedness found only within another's embrace

Visual distortions mixed together providing and interconnectedness found only within another's embrace

The thiasus, was the ecstatic retinue of Dionysus.

The thiasus, was the ecstatic retinue of Dionysus.