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Wednesday, April 22, 2026
George Pullar in Stonefish
Never Mess With A Man's Best Friend...
As most readers know, I've been enjoying diving into CFNM and CMNM themes the last few years. With visuals from both real life, (nude events and performances) and in reel life with scenes on television and in film. Recently, I saw a hot pic from a CMNM scene on a forum. it featured two men on a boat, with one clothed pointing a fishing spear at another man who was naked.
I didn't recognize the film, or the actors, nor did an image search come up with any results. I messaged Riman42x, the original poster, who responded that the cap was from the 2022 short film Stonefish. The actors were Ben Oxenbould, who was hold the spear, and George Pullar who was naked having it pointed at him. It was also Pullar who came up with the concept and wrote the script.
The truth is, Stonefish all began with a text message from a good mate.....
Australia actor George Pullar has been working professionally for over a decade. Like many working actors though, the roles, and the world came to a halt with the out-break of Covid. Pullar was eager to make a short film on his time off. The results, Stonefish, a thrilling dark comedy about an anxious young poet who accidentally sparks a war with his nefarious neighbour when he tries to quell the relentless barking of his dog.
'I gave myself two goals: write myself a role I thought I’d never be cast in and write a story that was simple but genuinely funny and tense. I also gave myself some realistic boundaries. I wanted to shoot primarily in one location, set it in Australia and focus on the conflict between two people. Easy, simple, affordable.
t was a bizarre thing to say but the image struck me. Myself, naked, in a crab-pot. How could I possibly get there? And so it begged the next question…what kind of person could end up in that pot? '
George Pullar, Cinema Australia
If you want to check out Stonefish for yourself, you can watch it on Vimeo HERE:
Desire by Ohm Phanphiroj
'.With straight men, it becomes more of a psychological and emotional game.'
One of my favorite elements within the visual arts is the ability to quickly set a mood. Whether it's a film, a painting or a photograph, viewers expect to be instantly drawn in. With the numerous forms of stimulation, constantly competing for our attention, it's essential that an artist is able to immedeately set a tone and seduce the viewer in to see, and more importantly, to want more.
The viewer's want may not be about the specific image or model, but the feeling or emotion the visual arouses. From the first moment you glance at one of his images images, you can both see and feel the t mood so artfully set by Thai fashion and art photographer, filmmaker, and lecturer Ohm Phanphiroj. It comes through due to lighting, through pose and environment and through the lens of intimacy Ohm uses to filter his subjects through.
If you're an admirer of Ohm's work, or seen my previous pieces on the site,(HERE:) you know this mood isn't always comfortable. Much like the feelings of love, last, passion and desire, the bodies physical and emotional reactions aren't always just comfortable and pleasing. Love comes with loss, passion with pain and desire with disappointment. I think especially for gay men, desire comes with risk and varying degrees of fear.
Maybe things are better today, but if you grew up before the 2010's, feeling desire could be dangerous. This certainly led too so many supressing their desires to avoid the often destructive results of expressing it out loud. I went through high school in the 1990's, and no one was 'officially' out in the small high school I attended. My desires were almost always aimed towards men who identified at straight. It didn't really matter whether it was an actor I saw on film, or the guy sitting just inches away next to me in math class. Fear led to my desires remaining hidden. Secrets I kept as tightly hidden as I could.
Of course these secrets could not always be camouflaged. I remember several times hiding erections in dark movie theatres, panicked my date, (female) or male friend might notice. I also played sports, meaning lots of time in locker rooms. I tried desperately to blend in, but remember many times quickly dressing and walking out as my cheeks began to flush. Looking back, the risk although scary, also came with excitement. What feeling I remember most though, was that unfulfilled desire also came with frustration, and uniquely cruel form of pain.
These feelings of Desire are the focus visually explored in Ohm Phanphiroj presents his latest project. Ohm desires heterosexual men, despite or perhaps because of their unattainability. For his new book, he invited eleven of his young friends from Europe and the USA into his bedroom to photographed them. Each of the 176 pages of Desire is dedicated to these men, and Ohm through his visuals, both celebrates them, and explores the unique feeling of desiring an unattainable man.
I know most of us at tone time or another have crushed on and desired a guy who was straight. Depending on the individuals, many of us have experienced straight men who flirt, play, and who really enjoy the attention. Some may actually get physical, intimate, and a few even sexual. Ultimately though, if they're truly straight, whatever occurred was a momentary, often followed by abandonment and regret.
'In his work, Ohm Phanphiroj explores the multifaceted aspects of sexuality, identity, gender roles, and contemporary male nudes. The artist's work is always also an expression of love for his models—a love from a distance. In Desire, this distance is to be understood in two ways. Not only does the camera separate him from the men he photographs, but also their sexual identities.
While Phanphiroj is gay, the models in Desire all identify as heterosexual. Thus, the melancholy of unattainability is inscribed in every motif of the book—and with it, the ambivalent tension that defines queer art. Phanphiroj desires heterosexual men -despite or perhaps because of their unattainability'
What do you think motivates your passion for straight men?
Curiosity. I’m interested in whether I can awaken a desire that wasn’t expected — to see if I can entice them to desire me back, even briefly, and to create intimate, personal memories with them through the process.
Any differences that you have noticed during the process?
The process itself is the same. What changes is the energy and my own desire. When I photograph gay or bisexual men, there’s no personal desire involved for me — it’s purely artistic and professional. With straight men, it becomes more of a psychological and emotional game. I’m curious to see how far they’re willing to go, and how magical I can make them look and feel in the process.
Do you have any “rules” or “methods” when approaching straight men to shoot nudes?
No fixed rules. Every person is different, so the approach has to adapt to the individual. You learn to read people and find the approach that will spark the response you’re looking for. At the end of the day, we’re all human beings — curiosity and desire exist in everyone, and that’s usually where the connection begins.
Your shooting style is very intimate. Has that led to any interesting reactions?
Of course. A common question people ask is whether I sleep with all of the men I photograph — before, during, or after the shoot. What’s more interesting is that many straight men who work with me tend to disappear afterward. I think sometimes the experience pushes them into unfamiliar territory that they prefer to keep buried. Seeing me again could challenge how they understand themselves, and that can be uncomfortable.
What would you say is the general reaction after the shoot from the men you’ve worked with?
Surprise. Many of them say something like, “I can’t believe I just did that.” Whatever “that” means to them. Sometimes they act innocent afterward, as if to reclaim a sense of control. But in truth, we both know they were willing participants, often driven by their own curiosity and desire.
How much conversation happens during your shoots? Have subjects shared stories of curiosity or experimentation?
A lot. Building trust is essential, so we talk openly and I often ask very personal questions. Once that door opens — once they feel safe enough to explore — the bond forms, and that’s when the magic happens both emotionally and visually. I’m known for being very direct. I ask what I genuinely want to know and hold nothing back. I think people respect that honesty.
What has the reception to the book or its theme been like so far?
It’s still early — the book only came out a month ago — so it’s hard to fully gauge the response yet. But so far, people seem to really connect with it, and I hope the audience continues to grow.
Many of the men you photograph are not professional models. How do you decide who to approach?
I rarely work with professional models. They often know too much about posing and presentation — they already have their techniques. I’m more interested in young, inexperienced straight men. I like the process of helping them discover something about themselves, about art, and about what it feels like to be desired — especially through my gaze.
What has been the strangest or most memorable reaction when approaching a straight man to pose?
There was a Russian man named Eduard. He loved being desired and seeing himself as beautiful, though it seemed no one had ever told him that before. When I expressed how I saw him — and what I felt — we crossed a boundary together. He became both my muse and my secret lover for many years, even while he had a girlfriend. According to him, I was the only man in his life. Whether that was entirely true or not, it was something I chose to believe.
Any other memorable stories from the shoots featured in the book?
Too many to tell. I like mystery and suspense, so I prefer to let viewers create their own stories when they look at the images. But if you’re curious, you can follow me on Instagram. (HERE: & HERE) My accounts have been banned four times in the past two years for posting provocative images, so I’m rebuilding my audience again. Follow along if you’d like to see more of the work.
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