Педро Сантильяна, он же Паланка, скончался во вторник, 22 июля 2014 года.

В течение нескольких лет у него были проблемы с печенью, связанные с его ВИЧ-инфекцией.

Генри О'Мэлли, родился в Трухильо (Перу) 20 лет назад. Его зодиакальный знак-Близнецы. Греческий и Персидский бэкграунд (почему? разве это не шотландская фамилия?), его дедушка был родом из Индии. В спорте он доминирует: теннис и серфинг. Несмотря на свое иностранное происхождение, Генри обожает Перу и (по его словам) останется здесь навсегда.

Паоло О'Мэлли, брат-близнец Генри, занимается серфингом, плаванием, теннисом и велоспортом. Но самая сильная его любовь-играть на гитаре (день и ночь!). Эта гитара была подарком, когда ему было 8 лет, и теперь он никогда не покидает "ее", потому что чувствует себя одиноким без "нее".

About the Artist
Peruvian, Palanca sent in 1994 a "message in a bottle" xerox copy to a fetish ad mailbox found in a Honcho magazine issue titled NFN (National Foot Network). When everybody began talking about internet by ending 1996, he wanted to know about that NFN people, and in an instant reply he knows John O'Leary, foot fetish video maker of KINK VIDEO, who wanted more Palanca drawings, to be printed for O'Leary's Foot Scene Magazine, just for subscribers. Later, Palanca contact the Tom of Finland Foundation and send some copies too. Five years later in 2001, he finally showed up with some of his still never-shown drawings in Los Angeles and drop to the Foundation in Echo Park 2001 and began showing and selling his artwork. There Pedro met Durk Dehner, co-founder and Palanca's curator and protector SHARP, and a lot of respectable artists.

The Name Palanca
Pedro took the name "Palanca" first from a mexican wrestling book, where the word is highly featured to assign the "keys" in that sport discipline. Then he finally decided to own the name thanks to a personal experience inside a transit bus and the word in spanish is highly related to the phallus, mechanic stuff and is an easy word to remember.

A Palanca piece was hanging in The Erotic Museum in Hollywood (front of Egyptian Theatre), thanks for the Tom Of Finland Foundation's permanent collection.

Why FEET?
Pedro always got a thing for feet. Maybe it's due to assign sort of men's Achilles tendon, mostly in western society men's shoes are like shells and or shiny armors defining some solid stood in life and so impenetrable borderlining hidden feelings. Modern and ancient men were always in war condition, wearing nikes and boots to impress and warn... so, are barefoot men vulnerable? are bootless soldiers unweaponed and so exposed to be attacked by the enemy? Even cocks are proudly exposed as sophisticated sex weapons, why not feet being exposed after a hard battle? Feet from the enemies, feet from the victorious soldiers taking a deserving break, and it's all in the smell, it's best appreciated after they're swolling and beating like a hungry heart, hungry for sex.

A new era begins in 1980: a new decade, a new president in The United States and a 180 degree twist of politics in the whole world, a new president and end of a 12 year military government in Peru, a new Pope, a new way of thinking in people. The same year I leave the Primary School and join the High School, "where the men are"; I was just 11, although still looking like 8. Disco Era dies and so Dumbrella Era. New fashions came as the roller skates and the cult of the body.

1980 also marks a change in my social life: my family joins a prestigious tennis club, so I had access to a big pool, a restaurant and a sauna (that I used to go with my dad first) where I met many naked adult men. There were some hot guys, as a young hairy moustached muscular tanned and devastingly handsome hunk he used to smile and call me "Chico". He used to leave in the sauna seat some of his corporal hair I used to collect, also some abundant sweat from his asshole and soles, so just when he left the room I used to clean it with my tongue. The sauna wooden benches wasn't varnished, so the mix of the warm sweat on the wood was highly tasty. In 1982 I've had my first jack-off by placing my cock in the sauna bench's groove (thick enough to insert my stuff while it's still "slept"), and all that strong smell of men's corporal sweat and feet improved those wild moments.

In 1982 I began making explicit homoerotic drawings, and created many hidings in my room to keep them away from my parents. I started with a type of man with strong masculine attributes: a guy in his late 20s or in his 30s, hairy muscular tanned body, premature baldness (sexier if the rest of the body is very furry, up from the neck), a twisted smile, a huge cock with the ejaculating head pointing to the viewer's face, and a closer view to his feet. I used to jackoff and leave my fluids on the sketched papers, and bent them to be hidden, so the next time I wanted to see them, I used to find em with a strong smell. A remembrative drawing made in 1993 tries to faithfully revival those remarkable details from that lost phase.

And when I refer to a "lost" phase, I mean literally lost, my parents found my arsenal two times (1987 and 1991) and they proceeded to burn it all. A friend told me when something is burned, it is not destroyed, it is kept alive to eternity. And that's why Palanca came from the ashes.

PALANCA'S 70's DRAWINGS

1973-1980

The following pics are samples of my very earliest work, from age 4 (1973) to age 10 (1979). Its contain is divided by three basic phases:

The Black and Blood phase (1973-1975),

The Chosica (Sunny) phase (1975-1977/78) and

the Dumbrella phase (1978-1980).

The Black and Blood phase is developed from 1973 to 1975, when I was from 4 to 6 years old. I still feel fascinated about this phase. I still ignore many things about it, due to the lots of enigmas involved. I still ignore how could I create a dialogue with inanimated stuff like electric pillars and number symbols (as "Seven" -Siete Pedrito-, who became my favorite "victim" to "pursue" and kill). I still ignore my early fascination of killing -an adult male, to be specific- (this process is pursuing, chasing, binding, torturing, killing and eating, the last two steps are the orgasmic part, the climax of all this erotic ritual).

The victim was always a male with naked torso, black pants and barefoot, and exposing a vulnerable and symbolically erogenous part as the heart, that is always arrowed or perfored with a knive (the phallus), that makes the "sperm" (blood) gently emanate. The Crucifixion of Jesus was a strong inspiring erotic method of torturing. The "Tupac Amaru" torture method comes from a peruvian history episode, when an herculean indian rebel called Tupac Amaru was tied by hands and feet to four horses pulling him in opposite ways. The kids from peruvian schools used to play it with a "victim", and 4 other kids "doing the horses" pulling his arms and legs.

I can take "Seven" as an initial "start point". This character is an adult guy with a normal human male body, but wearing a "number seven"-shaped head (and I still ignore how came this "number seven" as an obsession for me, although I think I found sexy the shape of his upper-horizontal line (in some books, it was traced as an inverted "s" curve, lying in horizontal, simulating a crest or tuft... the kind of exceeding frontal lifted hair that rockabilly guys exhibit proudly, but in a little different way, going gradually up and gradually down, as the shape of a wave or... the arch of a foot).

Well, this "Seven" character suffers two "metamorphosis" that made me think of 3 different phases inside the Black and Blood phase: the earliest one belongs to 1972-73, when I was from 3 to 4 years old (considering that I began assisting to Kindergarten at age 3, so I knew the numbers, and my father was studying Accounting). In that time, "Seven" was born with his curved tuft, where eyes was placed (one of the earliest drawings I made, is "Seven" seated near the river and placing his bare feet in the water, while his eyes are looking up, maybe meditative, maybe extasied. The second semi-phase runs from 1973 to 1974, this time "Seven" has a mouth, a stretch quarter moon shaped one, but simulating to be an electric lamp with a light bomb instead of a mouth, so you don't perceive if he's happy or sad, but only from his eyes. In some cases, expressions of pain are manifested with vertical bars, simulating a wired rack instead of teeth. The last semi-phase concretes the almost final shape of Seven's metamorphosis: the quarter moon will hold a mouth, a little inexpressive by the beginning, the eyes turn to cat's eyes (vertical lines as cats have during the day) and a black rounded nose is inserted, with cat's moustaches. I was strangely obsessed with cats in those times (so the character holding a big knife with the right hand and a cat's hand with the other, is nobody but me, skull-eyed, representing the Death). A worker's cap eventually appears (so his working class background is sure defined).

But not always "Seven" was the only victim: also "Eight", "Six", a cat and even humans (with human's head). Between 1973 and 1974, Seven's family was formed, as his dad "3" and his mom "4". In 1974, Mom Four will play the role as "Virgin Mary", lamenting her son Seven dying like Jesus in the Cross. But in 1975, everything will change: my family moves to Chosica, a sunny place closer to the mountains, my social life became expansive so I suddenly left all the torture and killing panacea. 1975 marks the death of the Black and Blood phase, and welcomes a new "disneyish" period: The "Sunny" phase.

The Chosica or Sunny phase was out from dark entries, so it was quite boring, everything concerning family, friends and domestic love. It's 1975 and "Seven" marries and settles a family. There were some "gay" outlines between some new characters (as Phanie Arturo the Kangaroo with a dog), but always involved in a domestic environment. Some "interracial" items between an "intelectual" fox named Country Mario and a crazy hen called Rosi, featured a slight erotism focused on the male fox. In the pic below, Rosi tortures Mario with a strange noisy power. This will be a preceding item to a newer phase coming between 1977-78 until the beginnings of 1980 called Dumbrella, where erotism and tortures focused in male foxes will become a stablishment.

THE PRE-PALANCAS, 1992-1994

This is an undefined phase, a transition from the unexposed material from 1991-92 to the first Palanca "symptoms". These symptoms are basically the increasing expressiveness in male faces and of course, the foot features. In 1991, feet are still as a taboo in my art. When they're not shown, they're shyly and partially exposed, mainly in "meditative" intimacy. Also the faces and sights in 1991-92 use to be elusive and disenchanted (maybe due to the unexpected burning of older drawings in 1991), not defiant and proud as the Palanca formula (actually that formula came from my very first erotic drawings made in 1982, so the Palanca phase is, in fact, a "revival in spirit and 'plight'" phase).

In 1993 I began having my "inner fights" between "penetration" versus "feet" features. Enjoying sex was ok, but gradually my foot-focusing will impose and then prevail.

So in 1993 I began to feel the need of a name to develop myself and my drawings. Publishing some funny cartoons on a local newspaper, I felt I shall be more expansive with my real passion, each day more related to my foot fetishism. As Picasso marks Cubist Era with Les Demoiselles d'Avignon, a remarkable Palanca "birth" is featured on the cowboy couple in "Meanwhile, Back at the Ranch" and the tough guy being foot-serviced in "Chupame la Pezuña, Carajo (Suck my fuckin' toejam)". In that time, I still hadn't the Palanca name, twas still 1993.

Late 1993, the foot presence will become more outdaring, foot worship will be constantly featured, the foot anatomy will be improved in shape (arches, toes, accuracy in proportions and disproportions, the ball of the soles will suggest sensuality... in other words, foot will gradually replace the genitals as the most erogenous part of the male body.

So 1994 came with my each-time-stronger acceptance as a foot fetishist, and later with the Football Soccer World Championship fever in the US. There will be a "guilty", a bulgarian hunk with too much attitude who'll turn on the spark for the Palanca archetype: Hristo Stoitchkov. His masculine handsome tough looks, attitude and effusiveness will settle the first stones for the "Making of a Palanca Model". Also, a new 60-70s arrogant attitude will stroke pop music with a short name: Oasis. So the Palancas will carry the rock'n roll outsider attitude in their veins, in other words, they'll spit you, they'll be coarse, gross, they'll become fuckin' handsome macho bastards.

PALANCA TOONS, PART ONE
(1994-1997)

It was ending the summer 1994 (March, in southern hemisphere), when a friend literally pulled me to the beach. We went to San Bartolo, a "South Beach" an hour and a half away from Lima. I wasn't so enthusiastic, coz the place was crowded. Suddenly, my eyes got in an instant, in front of a tanned male god resting behind an old wooden rail and placing his feet on it. Less than a second, my friend pulled me to show me much less important things. Then, I had no camera yet, but my memory kept the image to plasm later on paper. It was the first time in years that I've got a foot-proud image of a man.

So, ending 1994, I decided to create some kind of "male toys", "showable to everyone", sort of "gay erotica for straight people". However, there are many gay features inside the tough looks of straight men's male heroes. In video games as Street Fighter, there is a big bunch of male customers, seduced by a wide gamma of male types to identify themselves or to choose as partners. Here are some Palancas doing sports...

Besides with the Palanca idea, I didn't want to plasm only physical attributes, also their human side, their vulnerability, their weakness proper from tough machos, so the Palancas certainly look grotesque, they laugh in complicity, they're so arrogant and simple at the same time, as many machos are. Although, in the beginning, feet are not as protagonic to be worshipped, the spectator can easily fantasize with them. Gradually feet will be exposed as the main thing.

Palancas "procreate with each other" in prisons, barracks, etc... They'll be always over-stimulated with their own feet!

eginning the first Palanca Era, the male physonomy tried to "rescue" the american macho looks from the seventies: hairy chest, outsider hero looks, wasted levis and ranch farmer footbare (all of that glory was "killed" by rambos, terminators and baywatchers in the 80s). Then I realized I was "overexposing" the classic mediterranean-caucasian type, so I began to adopt the peruvian cholo type, who really does "sweaty" jobs in my country. At the same time, the dream of the Giant Foot had begun, its chase and its ingestion as the most demanded menu in a restaurant.

I discovered the artwork of Gilbert and George in 1994, and it was the first time I knew about shit eating or SCAT as a fetish. I also fantasized with many other things as body alteration (amputation, ingrafting) and some old "sentences" (thrusting, hanging and/or whatsoever).

+++

Palanca: Foot-Worship Artist
Feet, the illustrator Palanca admits, were not always part of his beat-off art. For 10 years he was more interested in "giant dicks, giant balls and bald, hairy-monkey men." Then in 1995, barefeet, usually with their soles up and right in the viewer’s face, began swelling to sizes that overwhelmed even his humongous fantasy cocks. "I became very conscious of how delicious it was to imagine a shirtless man in long, black pants, walking barefoot with exaggerated foot arches. To censor the legs with long pants was just to spotlight those feet. In my drawings, foot arches became a roller-coaster of lines"

It was at that time that this artist from Lima, Peru took the name of "Palanca", which means "joint" in Spanish and is a euphemism for a hot, stiff dick.

"Truck drivers often refer to the big gear-shift on a truck as their palanca and will joke with their co-drivers ‘Why don’t you pull on my palanca awhile.’ I was looking for a short professional name like Tom, Teddy, the Hun.

"One day I was on an old bus going nowhere. I was sitting next to the driver — his powerful, hairy forearm and gorilla hand were having a ball with a huge, sexy-curved penis-shaped palanca that was all wrapped with brown leather. The head of the gear-shift was a red, crystal ball with a dissected scorpion inside.

"As we went along the bumpy back roads, that gear-shift started to shake, as some penises do, and the driver gently rubbed the magic ball as if he were rubbing his own cockhead. I got a hard-on! The young cobrador [bus fare collector] was sitting next to me and was so tired that he fell asleep on my shoulder. That was too much for me. I needed to jack-off . That evening Palanca was born."

Palanca, who now lives in Los Angeles ("I came in 2001 and was surprised to find it was just like Lima, a beach next to the Pacific Ocean that was in the middle of a desert") will be exhibiting his work at the Seattle Erotic Arts Festival in April. His drawings, often done on unfolded cardboard boxes, as well as his photo collection of feet ("from dirty Peruvian parks" ) can be enjoyed at length on his website. To purchase Palanca art, contact the Tom of Finland Foundation. His latest project is Palanca Toys, constructed out of sponge ("chewable, suckable and super hot.") Personally, we’re just crazy about his stuff, stinky feet and all.

© 2005 John Calendo / nightcharm

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