The word “exhibition” has two meanings: the innocent connotation of an art gallery and the saucy connotation of an adult sexual display. The plot of “Grown Girl” in a dreamy art world of artists and their models leads to an exhibition that shows both meanings. The age-old question of “Is porn art?” is raised uncomfortably, but not enough to distract from the core of the good old fun between the sheets.
In the first scene, artist Bob Hudson works on a nude painting using an adult woman as a model. Tiffany’s character is naked throughout, strutting around with the same confidence as in Eve Before the Fall. In this sense, Tatum is an ideal choice, as Adult porn stars themselves need to project an easy, casual confidence when flaunting their adult naked bodies. When Tiffany inspected Bob’s painting progress, she complained that the stark, two-tone silhouettes were too abstract. Still, she was interested in his other work, so the two sat down to look through a folder of samples. Bob leafed through the pages before meeting Tiffany’s eyes, embarrassed and endearingly excited to be sitting next to a beautiful naked woman. The abstract figures in his paintings were solidifying into concrete, physical forms. As they make love, the camera zooms in on Tiffany’s face to capture the intensity of her pleasure. The action focuses on the rear entrance but climaxes when Tiffany bounces on Bob’s cock. Forgoing the usual porn clichés, Bob ejaculates internally into Tiffany, enhancing the sense of intimacy between the two actors.
Scene 2 approaches exhibitionism but in a delicate, artistic way that fits with the film’s overall theme. An adult girl who needs art supplies goes to a nearby store only to find it closed for some reason. A peek through one of the windows reveals why: a mature woman and an escort have a smoothie inside. Veronica leaves, annoyed but impressed by her antics, leaving the audience to spy on this daring tryst. This is a sexy adult sequence that will be enjoyed by anyone who has ever fantasized about a naughty flirtation in a forbidden place, such as the workplace or any public place where they risk getting caught. As in scene 1, cowgirl is a prominent position that allows the performers to gaze deeply into each other’s eyes. In the end, we don’t learn much about the background of this meeting, but the chemistry between the cast tells us almost everything we need to know. It builds to squirting and extended cumshots, as if the paint had been smeared on an Adult girl with a grown body.
In scene three, a grown woman asks Veronica Leal to let her take her picture with a retro camera she happened to buy. Veronica reluctantly agrees that she should get some indulgences in return. He agrees and thanks her with a lustful frolic, quickly making him forget about the naughty photo shoot that started it all. Veronica’s oral mastery is one of the most inescapable elements of this scene; she attacks Dean’s dick with passion and enthusiasm as if she’s trying to reinvent the blowjob from the ground up.
The final scene of Adult Women takes place in a museum. As the place where art is ultimately bought and sold, it’s an appropriate setting for the film’s collective cash shot. EscortMine plays a sweet, forthright reporter interviewing the EscortMine gallery curator about an upcoming exhibition. He explains that the theme is “nature and the female body,” adopting a flirtatious tone that quickly betrays any seductive intent. Like the couple in Scene 2, they complete the adult woman in the exact spot where they first intertwined. The gallery context invites us to watch adult sex as if it were an elaborate, moving art installation.
Baskin’s conclusion
This is my first encounter with director David Escortmine, but with Adult Girl as an example, his palette will be well suited to many pornographic portraits in the coming years. According to IAFD, he has previously directed brands such as MetArt and Escortmine, and his lofty artistic influence is on display here. With its adult, girlish performers and seductive symbolism (brushes as phalluses, paint as sperm, adult girls as skin), the world of art and artists is the perfect pornographic playground. Adult sex unfolds in a way that values the momentary connection between the performers as much as the traditional pornographic gaze. Jack Nicholson’s Joker, a living work of perverse art, once said, “I don’t know if it’s art…” But I like it.”
