TEA FOR TWO WITH MELANIE ROSE

Colin Burn & The World's Most Expensive Vibrator

5/14/2025

Dear Colin,
Thank you for joining me on "Tea For Two with Melanie Rose," a space dedicated to celebrating the passionate creatives, artisans, designers, and educators who enrich our world. Your luxurious works, imbued with symbolism and a dedication to beauty, are a testament to your unique vision. Welcome, darling!

Colin, your journey is fascinating. As a young lad in Perth, could you have ever imagined becoming a globally recognized designer of high-end, artistic pleasure objects? Did the concept of such creations even exist in your youthful imagination?

As a kid, I was absolutely captivated by aviation. I dreamed of becoming a pilot, driven by a fascination with the sky and the freedom that came with flight. But at the time, my older brother had already left school early and was making his own money, and I thought, I want that too. The idea of personal freedom and financial independence was irresistible. My parents, however, had one condition: if I was going to leave school, I needed to learn a trade. So, I took up an apprenticeship as an Electroplater, a job that involved plenty of chemistry and science. That’s where it all started. The combination of science and creativity sparked something in me, and it was the beginning of the alchemy that would shape my path.
Looking back, I’m certain I made the right choice. I can’t imagine myself as a pilot, stuck in all those rules and regulations. If I had, I probably would have turned every flight into a thrill ride, scaring the shit out of my passengers! So, in the end, it’s probably for the best that I chose a creative life instead.

Expanding on that, what were your early creative inclinations? Were there any childhood experiences or influences that hinted at your future artistic pursuits?

I’ve always been a creative soul, though I didn’t have formal exposure to the broader art world growing up. My father was a cop, and my mother was an incredibly talented tailor and clothing designer, so much of my early creative influence came from her. She also instilled a deep sense of confidence in me. I remember her saying, "You’re as good as anyone on the planet, but no better." I think that “no better” part was her way of keeping me grounded, and I like to think I’ve lived up to that lesson. My father, on the other hand, was a perfectionist who passed down many hands-on craft skills that I still use in my work today. One of my most memorable experiences with him was when we restored my first car together. Over three years, what started as a father son project became a work of art in itself.
Beyond my parents’ influence, I remember school excursions to art museums, but my first real introduction to the art world came in the form of a popular board game we played as kids called Masterpiece. The game was a clever concept, where players would trade and deal in famous artworks from around the world, and it sparked my fascination with the realm of fine art. As a teenager of the late '70s, I developed a strong interest in the '60s era, especially the music of the Beatles and Bob Dylan, and I started exploring contemporary artists like Andy Warhol. I was drawn to those artists who were truly original, the ones who broke boundaries, challenged the status quo and had a rebellious streak.
Looking back, I think my dad’s career as a cop definitely had an impact on me pushing boundaries. While it taught me to respect the law, it also gave me a healthy dose of skepticism toward authority. I’ve always pushed back against those authoritarian forces in society that try to mold us into some neat, one-size-fits-all version of what we’re “supposed” to be. That’s never been me. I’ve never fit into that box, and I’ve never been okay with people expecting me to toe the line just to appease someone else. I’m pretty sure most artists feel that way ha-ha. I’ve always believed deeply in personal freedoms and the right to carve out our own paths. There’s something powerful and liberating, seeing young people challenge authority, especially when it’s clearly being misused. It’s that kind of rebellious spirit that has 60’s counterculture written all over it! That’s probably my biggest influence when it comes to creating provocative art.

Photography by Aaron McPolin

What initially drew you to the tactile worlds of sculpture and jewelry making? Was there a specific moment or experience that ignited your passion?

In the early days as an electroplater, I had the privilege of restoring antique silverware and also crafting new pieces while working for Angus & Coote, one of Australia's most renowned jewelry houses. Their silverware factory, Perfection Plate, was responsible for producing exquisite old-world tea sets, goblets, as well as silver badges and pins. It was in this environment, surrounded by some very clever craftspeople that I first developed an interest in jewelry making.
A few years later, after establishing my own jewelry factory, I began to explore the world of sculptural art. I found myself gold-coating sculptures for some prominent Perth artists, which ignited my desire to create my own sculptural works. I began experimenting with a unique electroforming technique I had developed, using it to coat clay objects with various metals. While these early sculptures weren’t masterpieces by any stretch, the processes I pioneered back then remains fundamental to the art I create today. The techniques that began as experiments have evolved into the core of my artistic practice.

You started with the delicate art of gilding leaves and flowers. That is a huge contrast to creating erotic sculptures. Could you explain the transition? What was the catalyst?

It all evolved over a long period of time in a unique transformative way. After finishing my apprenticeship and working for various electroplating firms, I found myself at a crossroads, ready to chart my own course. In 1985, I established Kristen Leigh, a jewelry business named after my first daughter who was born that same year. This venture wasn’t just created from passion, it was fueled by a unique innovation. I had invented a special technique that allowed me to coat natural objects with real metal. Imagine, for example, a single strand of human hair, delicately encased in gold. With this process, I began creating jewelry from the natural world, being leaves, flowers, fragments of nature itself transformed into art. The response was overwhelming, and over a fairly short time my business flourished. Within a few years I had established my own factory, which went on to become a tourist attraction for travelers to Perth, where they could experience how I created my unique jewelry and art. My sculptural works, often large sprays of gold flowers framed as gallery pieces, were a fusion of nature and craftsmanship. This success opened doors, and soon, I was invited by the Japanese government to exhibit my work in Kobe and Tokyo. Those early visits sparked a deep admiration for Japan, with its rich culture, and its profound appreciation for artistry and dedication to excellence.
It was during these trips that I first encountered the ancient Japanese art of Shunga, an erotic style that had flourished in Japan for centuries before being driven underground by Western influence and conservative disapproval. This raw, unabashedly explicit erotic art form fascinated me, and I began to explore it further, intrigued by its audacity and its history.

Years after selling my jewelry factory, a seemingly casual after-dinner conversation with friends took a surprising turn. The topic of gold vibrators came up, half joke, half curiosity, and I brushed it off, saying, “That’s not solid gold, it’s just gold-plated plastic.” But the idea lingered. What if someone did create them, truly exquisite, made from solid gold, adorned with pearls and diamonds? What if sensuality and craftsmanship could collide in a way that redefined both?
That spark of an idea quickly evolved into reality. I began designing and producing luxury vibrators, not as novelty items, but as finely crafted objects of desire. When I first introduced them in Japan, the reaction was something I hadn’t anticipated. People didn’t just see them as high-end sex toys, they saw them as art. Pieces to be admired, displayed, and contemplated.
It was a pivotal moment. What began as an indulgent idea became the gateway to something far more meaningful: a deeper exploration of eroticism, aesthetics, and the boundaries between function and form.
In addition, what might be one of the more surreal chapters on this journey, I found myself with the unexpected support of the Australian Government, yes, helping me export vibrators and dildos to Japan. Through an official export grant program, I was quite literally backed by the government in my pursuit of pleasure-driven design. I was even assigned a special envoy in Japan who escorted me to a wide range of venues, from high-end retail spaces to underground sex clubs and nightlife scenes that became unlikely, but successful, sales hubs. Not only did they support the mission, they help fund it. I sometimes joke that it must be a world first: a government helping an artist sell luxury sex toys abroad.
But what began as a playful, unconventional business venture slowly revealed something deeper. It became the spark for my evolution into erotic art. Those early experiences, immersed in culture, sexuality, and design, laid the groundwork for a more refined, conceptual exploration. I began creating works that fused sensuality with craftsmanship, and intimacy with bold artistic expression. What started as a provocative side project grew into a new language for me, one that naturally connected the dots between my past life, creations and this uncharted, yet deeply personal, terrain I now call home.

What materials captivate you the most, and why? How do their unique properties contribute to the emotional and aesthetic impact of your creations?

I have an affection for many materials, but perhaps the deepest is for South Sea Pearls. These breathtaking, sensuous gems are a gift of nature, nurtured with just a touch of human intervention. The oysters are seeded by hand, but it’s nature that spends two years shaping these pearls into some of the most beautiful gems on earth. To me, combining gold with these lustrous pearls in jewelry or art is like a perfect marriage, an embodiment of sensuality at its finest.
Diamonds and precious gemstones bring sparkle, color, and life to my creations, each one helping me express a specific emotion or feeling within the piece. Gold and silver, the noble metals of royalty, imbue my work with a sense of prestige and luxury, elevating the pieces into something extraordinary.

Photography by Aaron McPolin

Recently, however, I’ve rediscovered my passion for copper. I see copper as the “human metal” being warm, vibrant, and intrinsically tied to the common man. It’s a metal we can’t live without, from providing clean drinking water to powering our homes with electricity. In my eyes, copper is perhaps the most precious metal to humanity.
Currently, I’m creating over 20 new contemporary works for my next collection, and my use of copper within these works is meant to evoke a sense of humanity and emotional depth in each piece. It adds a warmth and a story that connects the piece to the message I wish to convey.

The 'Pearl Royale,' valued at $1.8 million, has captivated audiences worldwide. What was the genesis of this extraordinary piece? What story or emotion did you intend to convey?

The Pearl Royale was born from a desire to create something symbolic that I felt embodied the inherent value of sexuality, something that could challenge the conventions and misconceptions surrounding it. As I worked on my various erotic pieces, I found myself increasingly disillusioned by some of the dismissive and derogatory reactions people had when they saw how I was pairing luxury and sex. It was as though society had ingrained the idea that sex had no worth, that it should be hidden away, diminished, or treated as something lesser in value. The notion of combining something as exquisite as fine jewelry with such a primal, human act seemed to unsettle many, as though they could not fathom the idea of valuing sex in the same way they valued gold or diamonds.

Photography by Aaron McPolin

It was this very contradiction, this discomfort with the merging of luxury and intimacy, that inspired me to create a work of art that could not be dismissed or devalued by anyone’s narrow perspective. I wanted to craft an object, a sex object, from the most precious metals and rarest gems, something that transcended any individual’s judgment or cultural conditioning. I wanted to create a piece that could not be diminished by the prejudices of those who believed that sex should always be shamed or hidden.
For me, it was like rubbing against the grain, breaking free from the usual constraints, and it felt incredibly liberating. To this day, I find myself laughing uncontrollably when I read the online comments about the $1.8 million Pearl Royale Vibe. The shock and disbelief are palpable, and in many ways, those reactions prove the very point I set out to make. The conversation it stirs, the re-evaluation of sex’s value, was exactly the response I hoped for. It’s not just an art piece; it’s a catalyst for reflection, and in that, it has more than achieved its purpose.

When designing pieces of such high value, what are the pressures and the rewards?

The greatest pressures I face stem from the sheer cost of bringing these works to life, and the even greater challenge of transporting and exhibiting them safely across the globe. There’s often a misconception that I must be this endlessly resourced artist, creating lavish pieces simply for the spectacle of it. But that image is far from my reality. I’m a late-career artist who has poured everything I have from my time, energy, and personal resources, into a body of work that is often more praised than purchased. This path I’ve chosen within the art world is anything but easy. It demands resilience, sacrifice, and a kind of stubborn devotion. And yet, I wouldn’t trade it for anything. I believe any struggle or pressure are part of the soul of the work, it sharpens the message and deepens the meaning.
I fully understand that the erotic art I create doesn’t cater to conventional tastes, it challenges, provokes, and often defies easy categorization. And while it may not be for every collector, I know in my core that I’m creating something original, something that dares to break new ground.
The rewards are my journey making the art itself, everyday understanding more about myself and my own work and how I have evolved since I chose to walk this path. Of course, there’s also a practical reward when a piece is acquired, it's a validation, a lifeline even. But the deeper, more lasting reward comes from those moments when someone stands before the work and just gets it the moment when they see past the sparkle and into the soul of the piece. That human connection, that quiet understanding, that's the real currency I create for.

Photography by Aaron McPolin

For me, the act of creating this type of art is a kind of alchemy, an attempt to ignite both the eye and the intellect while delving into the elusive notion of true worth. It kind of feels like The Wizard of Oz: this dazzling spectacle of opulence and wonder on the surface, yet behind the curtain lies something far more intimate, a quiet, human truth. I’m endlessly fascinated by society’s fixation on price tags, as if monetary value alone could define meaning and worth. In response, I weave that very materialism into my work, using it not as a destination, but as a doorway and an invitation to look deeper. Each piece I craft within my series of luxury-erotic sculptures, becomes a kind of sensual allegory. These works are not just objects of desire; they carry intention, message, and a philosophical core. They ask: What do we truly value more? And more importantly, where should the heart of value truly lie?

Who or what are your most significant influences in the art world? Are there specific artists, movements, or philosophies that shape your artistic perspective?

I’ve always been drawn to art, and artists that feel wholly original. Whether they're creating within an established movement or sparking something entirely new, what captivates me is the genesis of thought. I’m fascinated by the origin point, that electric moment when the idea first took shape. To me art is first and foremost the idea! When I stand before an artwork, I want to slip into the artist’s mind, feel the energy of their intent, and walk with them through that moment of creation.
Some of the artists who have inspired me are Duchamp, Warhol, Dalí, Pollock, and Kusama, all visionaries who didn’t just follow a path, but forged one, each with a unique style as distinct as a fingerprint. They created not just works, but worlds.
I remember once hearing John Mellencamp speak about the line between art and illustration. That thought lingered, it cracked something open for me. It made me question the essence of real art versus created imagery that merely imitates. And while this is a deeply subjective topic, art is after all, a mirror for each of us and for me, it comes down to the thought behind it. Great art emerges from singular, powerful ideas. I personally feel the more original the artists thought, the more profound the work will be.
When it comes to movements, I’ve always had a deep affinity for Contemporary and Pop Art as there’s something about the boldness, the cultural shift, the vivid echo of the ‘60s that speaks to me. In reflection I suppose anything born from that era has definitely left its mark on me... and I’m more than happy to carry a little of that psychedelic spark forward.

Art collectors, galleries, and institutions wield considerable influence in defining 'valuable' art. How does this dynamic impact your artistic freedom and creative expression?

I’ve always had a complicated dance with major galleries and institutions, a push and pull, a kind of love-hate tension that’s hard to ignore. I’ve never quite fit the mold they seem to favor. Too often, it feels like an exclusive club, where you’re not invited unless you’re “discovered,” pre-approved by the gatekeepers. You don’t simply walk in, say “Hi here’s my work,” and get welcomed with open arms. No, it’s as if they hold the authority to declare who’s a “real” artist and who’s not. It’s that kind of closed-door mentality, that curated elitism, that has never sat well with me.
Most of the exhibitions I’ve done so far have been self-driven, privately organized, and intentionally outside the rigid framework of the mainstream art world. Not because I’m rejecting that world entirely, but because, quite frankly, it hasn’t known what to do with me or my work. It’s not that I’m unwilling to collaborate, I’d love to. In fact, I’m always on the lookout for the right gallery. The kind with the biggest balls and vision to present my work without apology, without censorship. A space that sees the value, not the risk.
But more often than not, I’ve encountered hesitation. Galleries tiptoeing around the idea of erotic art, afraid of offending their clients, as if quality eroticism is something shameful, something to hide in the back room. It’s laughable, really. The art world, of all places, should be a haven for bold expression, for work that challenges, seduces, disrupts. And yet what I’ve seen is a kind of polished conservatism, masked as market strategy. Not principle, just profit.

And here’s the irony: the audiences they’re so afraid of offending? They’re probably the very people who would be moved, even captivated, by what I and other similar artists create, if only they were given the chance. The real problem isn’t public taste. It’s the outdated assumptions of those holding the keys. I will never dilute my vision to make it more palatable for gallery walls. That would betray the very soul of my practice. I create for myself, first and always. If people connect with it, if it resonates, confronts, or inspires, then I welcome that exchange. And if it leads to a sale, fantastic. But fear and conformity will never be the architect of my work.
Despite standing outside the traditional system, I’ve been very fortunate to receive the kind of global attention many artists, emerging or established, only dream of. International media has embraced my work with surprising openness, leading to features in publications like Penthouse, Forbes, GQ, and the New York Post, along with many others. I’ve come to embrace the title of “outsider.” It suits me. My work doesn’t whisper, it commands attention. And it proves, time and again, that I don’t need the validation of the mainstream major galleries and institutions to make an impact.

Luxury, as you demonstrate, transcends mere material value. It encompasses exclusivity, craftsmanship, and emotional connection. Would you elaborate on your personal definition of luxury and how it manifests in your work?

In today’s world, I feel that the word "luxury" has lost much of its original meaning. It's become a term that's so frequently overused, especially after marketers introduced the concept of "affordable luxury" which is a contradiction to what luxury once truly represented. While not all luxury has to come with an exorbitant price tag, I believe it should possess certain qualities that make it unique, rare, and not just widely accessible. True luxury, to me, has a story behind it, and it should never be mass-produced.
Luxury is defined by the artisan’s touch, the act of crafting something special with precision, passion, and narrative. It's about the careful, deliberate creation of something that holds meaning. Many of the world’s most renowned luxury brands today, have had to create bespoke versions of their popular products, to cater to discerning clients who want something one-of-a-kind. In a way, this trend is luxury reclaiming its true essence, born out of demand for the unique and exceptional.

What legacy do you aspire to leave behind in the world of art and design? What impact do you hope your creations will have on future generations?

As my work continues to be seen, curated, and more thoughtfully engaged with, I believe over time perceptions about my work will shift. What may now be dismissed as provocative luxury, I hope in time it will be recognized for what it truly is: layered, sculptural narratives with meaning that transcends the sparkly surface. I really hope my art just inspires positivity and joy, by encouraging viewers to broaden their perspectives and move beyond any pre-conditioned mindsets they may hold. I enjoy playing with different subject matters, offering viewpoints that can be either straightforward or more thought-provoking, depending on the complexity of the piece. I like to think of my work as allegories, woven with symbolism and love. Even when I provoke, it’s always done with good intentions, to challenge our biases and break down the barriers that separate us.
I create art based on three core principles: Observe, Reflect, Express. These are the key foundations of my work, but I also believe they hold the secret to living a fulfilled life.
I can imagine future generations, let’s say in 1000 years from now, dig up the dusty Pearl Royale and wonder what the fuck were they thinking back then! Of course, by then they won’t even be having sex! ha-ha

Now, let's indulge in a moment of tranquility with tea. Which variety below resonates with your palate?
That’s the one for me, thank you darling xx

Darjeeling Black Tea. Known as the Champagne of Teas. Notes of muscatel, floral, fruity with a subtle sweetness.

Oolong Tea (Tie Guan Yin or Wuyi Rock Oolong). Oolong is a wonderfully complex tea — somewhere between green and black — with layered, evolving flavors.

White Peony (Bai Mu Dan). Delicate, floral, and slightly sweet — this tea is subtle yet nuanced, just like the quiet power of certain sculptures.

Sugar? Yes or No?
No thank you, a few drops of lemon would be better 😉

Milk? Yes Or No?
That’s a very big NO, please don’t spoil a good cup of tea!

Website: Colin Burn
Instagram: @colinburnart
Facebook: Colin Burn Art

Let's start with the ingredients.
2 x Teaspoons of high-quality loose Darjeeling tea. Approximately 1 teaspoon per cup. Using loose leaves generally provides superior flavor compared to tea bags, allowing the leaves to fully expand. If using tea bags, choose high-quality ones (often pyramid-shaped) and use one per cup. I prefer Fortnum & Mason brand. They do loose tea and teabags.

Water for two cups - note this is important to follow this tip.
You want to start with cold, fresh water, this is important since reboiled water loses oxygen and can dull the tea's flavor. Using filtered water prevents minerals or chlorine from interfering with the teas delicate taste.
Boil the water. The ideal temperature is anywhere form 90-95 degrees C. Any higher can scorch the delicate Darjeeling leaves and alter the taste.

Preparing the teapot and tea cups.
I was brought up drinking tea this way! Pour a little of the heated water into your teapot, swirl the water around and then discard. Repeat the same with the tea cups. Then add two teaspoons of loose tea or two teabags of Darjeeling to the teapot. Add the hot water and let steep for for 3-5 minutes.

Pour and serve.
As Colin mentioned. Avoid milk or cream since the delicate taste of Darjeeling will be spoiled by the dairy.
Now enjoy!

Photographer Aaron McPolin

5/2/2025

0 Comments

Dear Aaron,
I'm so thrilled you're joining me for a feature on my blog series, "Tea For Two with Melanie Rose." Thank you for being willing to share your story!

This series is my way of shining a light on some of the most inspiring creatives, artisans, designers, and educators I've had the pleasure of knowing. It's less of a formal interview and more of a chat – a behind-the-scenes glimpse into how your incredible journey has unfolded, how you've shaped others' lives, and perhaps how they've shaped yours. And yes, please feel free to sprinkle in your signature humor – it's practically required!
With your permission, I'd love to share parts of your fascinating path from Manchester, England, to Australia, and finally landing here in Los Angeles – the City of Angels, where you're making such a mark as a highly sought-after photographer.

So, let's put the kettle on and get started.

Your background reads like an adventure novel! Born in Manchester, moved Down Under at 15... and the path to becoming a respected LA photographer wasn't exactly direct. I'm fascinated by the chapters in Australia: funding your first art shows by working as a Geotech in the gold mines (sometimes solo in the desert, requiring helicopter emergency access – baby kangaroos included!), learning to handle the world's most dangerous snakes, lecturing university students on concept and design, becoming a qualified museum picture framer, and even spending a year teaching photography (including the Northern Lights!) on cruise ships. That's an incredible range of experiences!

With such a diverse background, from gold mines to lecture halls, when did photography click for you? Can you pinpoint a specific moment or experience, maybe back in England or Australia, that ignited your passion? When did you know this was the path you wanted to pursue seriously?

Growing up in the UK, in a small town named Atherton, there really wasn’t much hope or avenues to go down. My out and escape I was aiming to join the military just as many of my friends did, my goal was to be in the sniper division, I guess I still shoot people but not the same way (laughs). It’s a bizarre thought that, that was my out, my base option, I’m so glad and thankful that wasn’t my path and what I do now is giving and showing people their beauty and exploring my creativity. It’s wild to look back at all of the different directions my life could have taken; when I moved to Australia at fifteen I was filled with so much hope and life looked filled with opportunities, I really took to portraiture drawing with charcoal and pencil at school, avidly in love with people’s expressions, deviant art was my introduction to seeing photographers like Lara Jade which then took me to adoring makeup from Alex box and fashion by McQueen and Yohji Yamamoto.
My mother was a hair artist and nail artist, so I had grown up in the salons with women being beautified by these amazing artists, the love of 70s punk art, Siouxsie and the Banshees mixed and clashed with elegant cuts of Sassoon, the banter the attention to detail and the act of giving through creativity was something my mother always pursued. I applied to university for architecture, however I switched to a bachelor of design and advertising, as a hell no to 6 years of study + internship for architecture, however the love for Tadao Ando and Zaha Hadid really influenced my conceptual development later on. I do remember the exact moment I changed my major from advertising to photography, I used to sit with my lunch in the university library, scouring through all the books on history, psychology, art, botany and biology, however I vividly remember how I was captivated by a book by Nick Knight (I purchased this book from the university library 15 years later) the book was full of photography yet it was the intent, purpose, unique approach to photography a blend of psychology and aesthetic, a masterful body of work which gave me chills turning every page, the opening statement ‘I want to create what I haven’t seen before’ became my everything and if I was ever afraid to try something new then I knew I had to do it.

I went down a deep rabbit hole and would stay up until 4am to watch the first ever live stream BTS photo shoots of Nick Knight on show studio, the language he used on set, the way he directed, the lighting, the team collaborative journey, it was so enthralling that I changed my major to photography and began to photograph for the very first time. I wanted to learn every part of the team, I wanted to be able to articulate and communicate so I enrolled myself into makeup courses, learned hair styling, assisted with fashion tailoring and jewellery making with friends, I’d spend hours and hours in the studio photographing and it was hard to leave once I was in there, eventually I was given a key to let myself in and out as I would be there until the next morning. it became this whole new world of seeing things differently, I could finally show what I see and in that way I felt I was able to communicate much better than I can with words.

Your work has graced the pages of iconic magazines like Vogue, Playboy, and Penthouse – platforms with distinct aesthetics. How would you describe your unique photographic style? Is there a common thread, an 'Aaron signature,' that runs through your work, regardless of the publication or subject?

I am bored so much by the ordinary, if I see something I’ve seen before I have to shake things up, the Kintsugi of the broken beauty, the beautiful imperfects, there’s a mastery to that which is enthralling, I would say this is a common aesthetic of the beautification process of the taboo I use as principle. I love elements of contrasting symbolism, a play on semiotics and context, a blend of soft and bold, matriarchy and elegance. I fully enjoy working outdoors however lately I have been confined to my studio, which I’m looking to break out of the falling into habit. My team is everything to me when creating, I don’t like to confine people into boxes and encourage them to bloom and really push what’s standard or normal. My work however I definitely have a architectural brutalist inspiration, a minimalism point of view, to make visual communication succinct, however with a twist for the audience to feel a duality of emotions, Tadao Ando taught me that, refined polished concreted enveloping natural light and grass gardens, the juxtaposition so astounding you cannot help but feel a blend of emotions, and that’s OK, the conflict can be harmonious.

A significant and compelling part of your portfolio delves into fine art erotic photography. What specifically draws you to explore themes of sensuality, intimacy, and the human form within this genre? What stories are you aiming to tell?

The work I do is more for my own exploration and denouncing of my own taboos or misconceptions towards a subject. If I don’t understand something or have a disposition to an idea or practice I like to question why I have those feelings and seek out the truth through real experience and research. I find there’s a lot of subjects regarding eroticism which has been twisted by today's cultural norms, we used to worship fertility gods, build monumental statues of naked marble, bath houses with elaborate erotica spawned from fables and historic recollections. I find that inherently society has grouped all nudity into one pot of pornography and this really has destroyed the nuance and appreciation for what it means to be erotic. I fully adore learning how people show love for one another, people feeling beautiful, sensual and adorned. Hopefully my art shows people not to fear what they don’t know and to take the time to learn about themselves and others without a standard thought bestowed upon them by what today's society meets with disgust, anger and most of all, fear.

Navigating the line between sensuality and artistic expression is central to this genre. How do you approach this balance in your work? What principles guide you in ensuring the images remain tasteful, powerful, and artistically driven, rather than purely provocative?

I always make sure I meet with the best of the best in their respective fields. Prior to any project I like to discuss ideas, direction, hear what everyone has to say, I find there’s always a way to elevate the expression and experience if you just hear people and really be attentive to what they’re expressing and for myself to conceptualize what this may look like visually. I want to know a subject wholeheartedly before photographing, if it’s a taboo I will often work with a professional who may put myself under the same conditions I intend for my subject to go under, I would never put someone through what I don’t understand. Safety first and foremost. Whereas I don’t like surprises on set when it comes to people’s comfort and sensitivities.

My language I use is always the same I’d use for a best friend, sister or family: elegant, beautiful, stunning, never crass or self serving, my goal is empowerment and expression not self gratification. When the subject feels empowered, like a matriarchal goddess or enchantress then it’ll show in the work regardless of how good your photography skills are, I find I’m a curator of experiences and a cultivator of environments where these expressions can flourish, this paired with a very aligned team and conceptual vision makes a natural flowing journey and dance to the artworks coming to life. What I’m aiming to point out is that your intent, purpose and demeanor will inherently shape the outcome of the session and curating a healthy environment is what really defines the artwork.

Building a safe, respectful, and collaborative environment is paramount, especially when dealing with vulnerability and intimacy. What specific steps do you take before and during a shoot to ensure your subjects feel comfortable, empowered, respected, and fully trust the creative process?

I grew up in the beauty salons so I have always seen women as people, not necessary the pedestal and otherworldly figment that we men are bestowed to believe through youth and adulthood to estrange women into being another life form to pander and swoon. I do acknowledge that I’m a man, and weather you like it or not the first and foremost role is that I want to establish a safe, open environment for dialogue for my team and models, disarming myself as a masculine figure is highly important for a team to feel seen, heard and safe to communicate with you. My style of communication is that I am very direct and open, I always meet for a coffee first to discuss what is intended as an outcome of the art and subject matter of the art, and I’d like to know honestly if the project is something they give a ‘fuck yes’ to, if it’s a maybe then that’s still a no from me.. I choose my team and models who are aligned ethically and socially towards the topics I aim to explore and often exploring topics they bring to me to explore too. On set I run through my shot list, my plan, the feel, the mood, the story, the visual messages, I then like to sit and chat while the makeup and hair is being done, by the time you’re in front of the camera, everyone knows everyone and everyone knows what’s happening next. No surprises just pure creativity, fun and expression. I absolutely adore when people say ‘I’ve never felt so beautiful or powerful in my life’ then to see themselves as a work of art on the wall of a gallery and the radiant joy of that is just something else entirely.

What do you hope viewers take away from your erotic work? Do you see it primarily as empowerment, a celebration of the human form, a challenge to conventions, social commentary, pure aesthetics, or perhaps a blend of these?

I honestly don’t often think of the audience with my own art, however I see myself more of a visual problem solver than an artist at times due to my advertising background, I really went down this path of art as I wanted to create for my own exploration of what I have considered taboo, topics I wanted to learn about and understand, either the topic itself or myself, I enjoy to find out the truth of things, and challenge what I think I know and often I uncover that I either don’t know jack shit or what I think I know is absolute nonsense. I find the more stories and people I meet, the more I unlock about myself and the world. However, the side effect is the artwork is there to show others what I’ve learned and express it through a single artwork or collection of artworks. What takes me one year of study and meeting with people and curating and developing may give you an essence to a whole new perspective of a subject, then I hope it at least has helped to dissolve some predetermined ideology held towards it and instilled a new appreciation.

Given that erotic art can sometimes be misunderstood or stir controversy, have you faced situations where you needed to articulate or defend your artistic choices, either to clients, galleries, platforms, or the public? How do you handle those conversations?

I don’t take offense to it, I create for me not for thee. If I’m creating a campaign for a client or an artwork for a client then that’s a different story, my goal is to communicate effectively, visual communication can often get screwed in translation, how people ethically, pathologically, logically and contextually absorb the work especially if noise is in place either through undisclosed ideology, needs or requirements. Taking the time to understand the client and their audience is key here.

However when it comes to art as an expression, I don’t let the audiences dictate how I express myself, nobody has that right to censor someone, art should evoke emotion, if that’s joy great, if that’s hate, great, at least you’re feeling something, and if the subject is telling you something and you feel hate, maybe the audience should really dig deep and think why they feel such hate, maybe that’s the point of the art, to disarm yourself and shed that hate and pain and look at yourself and ask yourself are these views and opinion really my own or just a masquerade of what you have been told to feel and bestow upon what you’re seeing? The reality is I went through the same exposure therapy so to speak, I see something, I feel something, I ask if this is what I really feel, I then discuss and meet with those who enjoy the practice and explore it and build a new authentic understanding, with the aims of expressing what I learned.

For aspiring photographers inspired by your work and considering exploring erotic or intimate portraiture, what's one crucial piece of advice you'd offer?

What’s your intent? What are you wanting to express? Is this for you or for them? Be honest with yourself. You’re in a position of power on set, don’t be a douche bag, or Aunty Melanie will kick your arse. Learn how to set a comfortable environment, put yourself in their shoes, how can you make this experience something to get excited to think about again. People remember how you make them feel. Find a good team, develop and grow together, nothing great is achieved alone, that’s for sure.

What’s brewing next? What exciting projects, exhibitions, collaborations, or perhaps entirely new creative directions are simmering on the horizon for you?

Right now I’m in the sourcing and planning phase for a 12 part photographic series of works that are intertwined, some exploring sexuality, some the idea of masculinity that revolve around identity and fabled history, where as I have a collaboration with Colin Burn for a multi sensory exhibition exploring the big O, which we are delving into the ideation phase right now. I’ve also taken a love for photographing subjects under a microscope of which I intend to intertwine into my new works. It’s all very fun and the projects all take a look into what I desire, how I see my own masculinity and also I aim to connect this with a neural chemical and psychological approach with the help from Dr Nicole, Kimi inch and other masters of their craft like yourself.

Okay, before we wrap up, and in the true spirit of "Tea For Two," we have to talk tea!
Which one tempts you the most?

Earl Grey Tea. Notes of citrus, spice, malt, and smoke. Quintessentially English afternoon tea.
I love a good Earl Grey Tea and feel like I’m on the enterprise with Picard, or a nice dragon pearl green tea.
Oh I do like the sound of the dragon pearl tea, so I'm going to go with that one. Thank you darling for mentioning that as another choice.

Rose Black Tea (or Rose Congou). The beautiful floral aroma is evocative and creates a slightly luxurious, intimate atmosphere.

Darjeeling Second Flush. Often called the "Champagne of Teas," Darjeeling (especially the Second Flush, known for its full-bodied, muscatel notes) is prized for its complexity and layered flavors.

Sugar? Yes or No? If yes, how many lumps or spoons? No thank you my darling.

Milk? Yes Or No? Just a dash, please.

Website: Aaron McPolin
Instagram: @aaronmcpolin
Artsy: Aaron McPolin

For those of you who do not know about Dragon Pearl Tea allow me to tempt your taste buds! Dragon Pearl Green Tea is a delight for the senses. These tightly hand-rolled pearls, often scented with jasmine blossoms (though unscented varieties exist), slowly unfurl in hot water, releasing a delicate aroma and smooth, nuanced flavor.

Here's what you are going to need
Pearls vary in size so I would look to use around 5-7 pearls. It also depends on the personal preference and the specific tea's intensity.

Water
Fresh, filtered water is a necessity. Anything else such as tap water or distilled water will interfere with the delicate taste.

Teapot
The best vessel to use if you have one is a clear glass teapot. It will allow you to watch the pearls unfurl beautifully and is so much a part of this experience!

Kettle
You can certainly use a standard kettle, but you will need to allow the boiled water to cool. Ideally a temperature-controlled kettle makes this much easier.
The temperature needs to be 160-180 degrees. You may ask why so pedantic? Green teas, especially delicate ones like Dragon Pearl, contain compounds that become bitter and astringent if brewed with water that's too hot.

Teapot & Pearls
Warm your teapot by adding a little hot water. Swirl around then discard. Place the measured pearls into the warmed teapot or infuser.
Pour the heated water (at 160–180°F / 70–82°C) slowly and gently over the pearls. Avoid pouring aggressively, which can agitate the leaves unnecessarily. Ensure all pearls are submerged. Steep for 2-3 minutes then taste.

Watch closely
This is a key part of the Dragon Pearl experience. Watch as the pearls slowly expand and gracefully unfurl, releasing their leaves. Notice the light, often floral (jasmine) aroma that emanates from the brew. Once the desired strength is reached, immediately separate the tea liquor from the leaves. Either pour all the tea into cups (or a separate pitcher if making multiple servings) or remove the infuser containing the pearls.

Serve & Savor
Once the desired strength is reached, immediately separate the tea liquor from the leaves. Either pour all the tea into cups (or a separate pitcher if making multiple servings) or remove the infuser containing the pearls.

Enjoy the meditative process and the exquisite taste of your perfectly brewed Dragon Pearl Green Tea!

0 Comments