Most people find the idea of ​​phallic worship ridiculous in our modern society. However, male fixation on the virile member, its power, size or sexual functions still persists. The representations that have been made since the Neolithic of a man with a large phallus cannot be overlooked. The figure is none other than the Giant of Cerne Abbas, or the ithyphallic Hermes. We have seen it in pagan art around the world. Obviously, it's not just an "abstract man with a ridiculously huge penis." This must be symbolic. Why else would this image, and that of the penis in the abstract, be repeated with such frequency and ubiquity? Evidently, this act of creating magical symbols has been designed over time to undermine the authority of the power possessed by the object, in this case an artifact of the hated educational system, of notably Christian institutions that insist on restricting pagan and animal impulses. Of the youngs. Pagan phallicism expresses a challenge to the ruling Christian power structure. A naive stick figure, brandishing an impossibly large phallus, is the key image in the cult's iconography. The figure, who we shall refer to as 'Penis Man', does not only appear on objects representing the established Christian state, such as textbooks (tools of Christian indoctrination) and walls (artificial barriers imposed by the State that divide man from his neighbour). It also appears in profusion on the walls of public lavatories. This is not, as one might think, mere scatology. Public lavatories, like the bath-houses of Russia, are magical places. In our society, they are one of the few 'men's lodges' still in existence. We should therefore not be surprised to find the cult's adherents celebrating their deity, Penis Man, on the walls of his temple. Indeed, the public lavatory is also home to another rite, which is certainly associated with Paganism and the pre-Christian era; we refer here to the 'unmentionable vice of the Greeks', namely homosexuality. Penis Man appears amid numerous affirmations of tribal loyalty and defiance (FUCK OFF MAN UTD SHIT) and collective ritual disparagement of the women of other clans (HOLLY IS A SLAG. TRUE). We can thus posit a fervent, underground movement, composed mainly of young men whose initiation ceremony undoubtely involves homosexual acts (whether this is in the young man's nature or not, being 'man enough' to endure them is part of the cult's ethos) which has survived from the earliest days of Paganism. We cannot tell whether Penis Man represents Herne, Dagda, Cernunnos or any such deity; but we do know that he must represent one of them. The notion of pagan continuity, of an inherited tradition of secret pagan worship, is often scoffed at. Those who have seen the crude, shocking and yet unarguably authentic figure of Penis Man will have to rethink their conclusions and maybe, just maybe, ponder their own prejudices.

Throughout my career, some themes have taken different forms, colors and have been translated into images that denote feelings and sensations, sometimes conflicting or not very easy to define. Because this is our life and this is how the moments we live are. In love, especially, we can go through different stages, from sleep, desire, falling in love, the harmony of daily life or its excessive daily life. That is why I wanted to share with you these dialogues between my works from different creative and vital stages. Here I present a work from 1994 and how the same theme acquires different nuances throughout my life and artistic history: In this painting from my first pictorial series, I wanted to represent the sensations and feelings that I was experiencing at that time when I was far from my family and suffering from the sometimes evasive love of someone who shared a bed with me at that time, sometimes when he was right. In this other painting I represent my sensations when living as a couple and like all the evil that happened outside our home, it would stay there, without affecting us. In this art work I talk about the best and worst moments that are experienced in a gay couple. Here I talk about how couples somehow have an omen about future relationships. Of loves gone that are still there or of loves that one day may be again. Sometimes couples must experience separations that make them live their loneliness in the midst of the desire for a reunion that does not always come. Care is essential in a couple. Lovers drink their mouths. The satisfaction of living loved ones is unmatched.

Born in Atoyac, Jalisco, Mexico. 07/31/1971 He studied Visual Arts at the National School of Plastic Arts of the National University of Mexico (ENAP, UNAM) His art relates to gay life and homoerotic themes. Always focused on the nude as an expression of the true inner feelings of the human being, he paints inspired by the art tradition of the past, as well as the influences of the avant-garde and postmodernism. He paints nudes in different settings. Whether in nature or in urban cities my figures are full of vitality and strength. I am always exploring the human figure from different conceptual levels. His art expresses physical, sentimental and emotional human experiences that can range from the sensual to the erotic. He's always striving to make his nudes full of power, mystery or fantasy, and at the same time he's also telling a story. He is an artist who gives great importance to the details that lead to the imaginary and often reveals a surprisingly implosive and frank message. In them they reveal something much more intimate. His paintings are frequently inspired by the unconventional and are very narrative with fabled stories. The male body The male body as the enclosure of a will that does not want to be relegated to the dictates of morality and gender repression, explodes in all the force of its vulnerability in the paintings of Sebastián Moreno Coronel who, proud of his sexuality, openly expresses his obsession with the latent fragility of the male, which we all hide. For centuries, the male figure has shied away from the appreciation and appropriation of its plastic virtues, appearing only as an ornamental accessory that reinforces the apparent female weakness. Great authors have had to cover the representation of the male phallus with cloths, considering it aggressive in its character of penetrator-perforator, of property embodied in the female. It has only been until recently, when advertising has discovered the suggestive potential of the male body, built in the temples of the physical, in which, needless to say, homoeroticism floats like nowhere else. At a time when clothing plays with unisexuality and when men begin to worry more about themselves, the gaze towards the other is forced, in the recognition of the other half of the beauty that, in an unnatural way, it has been veiled and forbidden to us. It is here where the pictorial discourse that returns to man his right to be represented becomes effective, both in the powerful explosion of his sexuality, and in the indelible vulnerability of his existential anguish, which leads him to rethink every day, his role as provider male. and dominant of his environment Emissary of male desire "Although it is true that I delight in the representation of the bodies that I admire, starting from my own and that of my partner; it is also a fact that I wish to become an emissary of the very desire of those who want to finally see themselves represented, in their choice sexual diversity or in the reaffirmation of their gender. For all this, I am totally grateful to everyone, men and women, who have opened a space in their world to let my creations enter it, filling their walls with the ejaculation of my brushes and the post-orgasmic lassitude of my subjects. My most sincere thanks to all of you for helping my work continue to bear fruit. My internal engine is still running and its power continues to regenerate through love and the satisfactions of my day to day. I hug you from Spain." Sebastian Moreno Coronel

Dedicating myself to the male nude and homoeroticism has kept me outside the usual art circuits. That is why I have had to depend on Collectors and Private Patrons. Collecting my original paintings or acquiring printed reproductions is a way to contribute to my art and my life, but it is also possible to do so through donations on Paypal. Your donation, no matter how small, supports my artistic work. You can choose the amount to donate where it says price. Many thanks

A frequently asked question about my work is: if I use models. This question is mostly asked of me by people who fantasize about posing in the situations I usually represent. In some cases it must seem completely exciting or morbid. But the purpose of my work is not to portray specific characters nor to perpetuate intimate moments of characters with names and surnames. Rather, it is my wish that anyone can feel identified with what I do and that is why I do not describe or portray specific people. Yes, I am inspired by images of all kinds, whether they are photographs, films or any other medium, reinterpreting them, but not copying them. I always use real images, which I modify, interpret or compose according to my interests. These images can be of models that I choose to pose or photos of artistic photographers who know how to choose the characters, lighting, composition, etc., to achieve expressive and powerful images. I don't use ordinary photos, everyday or amateur ones. Of course, if what someone wants is to order or commission a work inspired by him, his lover, friend or ideal model, that is something I will gladly do in exchange for the corresponding price and according to the technique, measurements and style that is chosen. I am on the way to being able to live from what I really like and know how to do, which is art, and therefore creating original or commissioned work is a way of being able to support myself. Therefore, if you wish to have a custom work, do not hesitate to contact me by visiting my Commissions or Custom Art page.