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Even so, many of Laaksonen’s later, more explicit drawings retained the winking affability seen in his more formative work. Early pieces published under the Tom of Finland moniker were more suggestive than explicit, but the artist’s work evolved with the loosening of both legal and social constraints. This early attraction was amplified during a stint in the Finnish military, in which Laaksonen saw action in Finland’s 1941 Continuation War against the U.S.S.R., which landed his country on the wrong side of World War II history until it switched sides late in 1944, and later through the emergent biker subculture, inspired by Marlon Brando in the 1953 film “The Wild One.” (It should be noted that though the uniforms of the German military were an influence on the artist, Laaksonen was decidedly anti-racist.)Īn initially secretive postwar art practice begun while the artist was working a day job at an advertising agency developed into a career, spurred on by a successful submission, in 1956, to Mizer’s magazine, Physique Pictorial, which had to be branded as a fitness magazine as a cover, though that didn’t always work (Mizer was charged with obscenity in 1954).
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From a young age, he took an interest in leather and uniforms - particularly those of local loggers and farmers - which would become his primary stylistic touchstone: Sailors flex and embrace in his work, and bikers touch bulges. But the artist’s work has had a long road to wider acceptance.