pretty gal Selene
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  • 27
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  • I have got silky hair


Sunday, December 8, Temptations. I hate night timethat moment before bed when your just laying there staring at the ceiling is the moment that tell you if your life is going good or bad. I miss Colorado so much.


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That sort of stuck as I grew up and when I moved to the States no one was able to pronounce or spell my two last names, so I decided to stick with SH to make things easier. Q: Tell us a bit about your early years in Sweden. How do you think the Swedish mentality affected your mindset? A: I was always encouraged to explore my own interests, some of which may have been considered a little bizarre from the outside.

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My favorite activities included horseback riding, smearing ketchup on my face and then running through the forest screaming, lying in wet grass and listening to film music and photographing the neighborhood children as religious icons. I grew up in an environment where I was really free to express myself creatively. He froze like an ice popsicle and then kept trying to ask me out for a whole year.

Everything physical I did over there — things which were perfectly undramatic in a Swedish context — seemed to be read as sexual behavior, which I thought was strange. When I moved to the U. S, whatever I did with my body was considered even more highly charged. This became the starting point for a lot of my work. I think suggesting that the female body is first and foremost a sexual vessel is toxic for so many reasons.

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A: We had a mandatory darkroom class in the 9th grade and me and my cousin got hooked straight away. We began styling each other for photo sittings. Very quickly photography became a way for me to connect with people, especially female subjects.

From behind the camera I felt in control. I was constantly seeking to bring out what I thought was most beautiful and interesting in people. Q: You moved to London to study. How is that environment different from what you were used to, and how did it shape your career?

A: I was not prepared for how little structure my art programs provided, but it was a terrific place to explore new ideas and be surrounded by interdisciplinary artists. I specialized in film, video and performance at the time and I really thought I was carving out a directing career for myself.

Little did I know how competitive that profession was, especially in the U. Photography came back into my life as a medium where I could still feel the creative gratification of film, but with a beginning middle and end that I could be in control of, without having to wait for outside permission and finances to complete a project. How did this all start? Tell us about the idea behind it. A: I fell into a creative dark void after I moved to the U. Around this time a former classmate from London, who had just opened up a gallery in Julia badbutt naked, contacted me and asked if I had a piece I wanted to exhibit there.

I panicked for well over a week about what to make. I had already decided I wanted to photograph women because it came naturally to me, but I found it impossible to put clothes on them because it distracted me too much from the sculptural shapes I wanted to arrange them in.

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Eventually I decided that they just needed to be nude and I got really lucky working with amazing models, a terrific production deer and cinematographer who came in to facilitate my vision. I knew I was onto something. I wanted to keep on exploring. I remembered her very well and had wanted to reach out to her about doing something again.

A fashion and beauty magazine approached me about doing a series on plus-sized women, as they were relaunching to become more body-positive.

I immediately thought of Angelina and asked if she had some friends that would be open to posing as well. She introduced me to Kristine and Isa, the other two models in the series. I wanted a different first reaction.

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I connected with makeup artist Sara Tagaloa, who came up with wonderful textures to cover the models in. It was a straightforward shoot from there. A: The challenges in creating the series were the usual ones that come with self-funded projects; money, time and post-production.

I am thrilled that we got this beautiful recognition and I know it means a lot to the ladies involved as well. This really helped emphasize the sculptural aspect of the series. She keeps making work she believes in, thereby empowering a lot of women of her size to feel seen and validated. That said, I believe she is a great role model for women regardless of their size, as we so often apologize about our appearance for no reason.

I wonder what kind of message we send out to fellow women, especially more impressionable younger ones, when we keep on apologizing for our appearance out of habit. A: The IPA recognition has enabled me to meet some absolutely terrific photographers and present my work in a professional context.

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The main takeaway is that I am listening to my gut feeling. A: Oh, I still want to do that. Through this series, I have been photographing a large range of naked models who together embody multiple identity coordinates when it comes to gender, sexual orientation, race, ethnicity, age, ability. The bodies are situated along the whole spectrum of the female form. Basically, I want to showcase and lift up the badass women that inspire me and hopefully through my work and its exposure, they can do the same for others.

Julia SH. Q: When did you discover photography and how easy was it for you to go down that road?

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Q: How did you find your models? Q: What were the challenges involved in this project and how did it change your life? Q: What does this recognition mean to you? We use cookies to ensure that we give you the best experience on our website. Got it No.

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