It's quite a statement about R.C. Hörsch as an artist that as you enter his website, you're greeted by a number of options which act as a filter for the content you are about to receive. Basically, you can choose the degree of smut you think your brain can handle, and you are rewarded with images that are most comfortable with you own personal boundaries.

This is a great way of making sure that more squeamish visitors aren't subjected to, say, his "Vampires" series. But, moreover, it demonstrates the wide range of his abilities and interests - his photographs range in subject matter from traditional (if somewhat retro) erotic fare (hot chicks cramming cocks down their throats with the guiding hand of a dominating male on the backs of their heads) to fairly disturbing (a nude nubile gasping for breath, a plastic bag stretched over her face).

Hörsch's professional exploits have been no less varied. He spent his early years in the '60s engaged in everything from drug smuggling to art forging before getting involved in fashion photography. After a short stint freelancing for Children's Television Workshop (the PBS division responsible for "Sesame Street"), Hörsch's interests began to wander into more prurient territory.

After almost two decades of working as a performer and as a photographer, Hörsch defied all industry logic in 1993 by teaming up with Candida Royalle's Femme Distribution company to produce a series of erotic documentaries called "Lovers: An Intimate Portrait." The pairing raised a few eyebrows - Hörsch being the epitome of aggressive masculinity, and Femme for being, well, femme.

Right now, Hörsch is working on a documentary feature about porn legend Nina Hartley and contemporary, pro-sex feminism. Oh yeah, that and following his erection ... errm, inspiration, that is.

He recently took some time out to talk to us about his work, his pleasure, and how there's not much separating the two.

Eros Guide: Tell us a little about your drug trafficking days.

Hörsch: Where to begin? I'm not into drugs but I am an adrenaline junky. I used to fly weed from Mexico during the late 60's or so. I did it for the flying. Small planes, very, very dangerous flying through the canyons and mountains south of El Paso. And a total shit load of fun. After the best flights I used to joke that the inside of my shorts looked like a black-and-white milk shake --half cum and half shit! Actually, that was probably more truth than joke.

Anyway, I quit when the Feds started shooting at me. When it stopped being a fun game. Like I said, I was in it for the flying. And everyone I knew, without exception, who stayed in the "game" is now dead. But it was a different world then. Small freighters with tons and tons of weed, and parties with sugar bowls full of pure coke and wall-to-wall stewardesses.

By the way, I DID pay my "debt to society" and served a lot of time at "Club Fed" …

EG: Hey, we're not in any position to judge - our checks to society are still in the mail. What did you do when you worked at Children's Television Workshop?

Hörsch: When it first started in 1969, Children's Television Workshop ("Sesame Street") many contract producers. I made two to three-minute live-action clips. One, for example, featured a little boy visiting a fire station with his mother. I probably did over a hundred clips.

At the same time, I also started producing theatrical (35mm) porn films … remember that this was way before videotape and VCRs … as well as working as a cock double in hundreds of films and 8mm loops. I got started when I visited a porn set where a friend was working as a soundman. The camera had jammed while Herb Striker, aka Harry Reems, was doing a cum shot. I always had the ability to "will" an erection on demand and cum on cue, and I started getting a lot of work. Since then I have continued as a performer (recently in "New York Taxi Tales," "Streets of New York," etc.) and I might possibly be the oldest "professional" performer around.

EG: Were you doing erotic photography while you were there, or did that come later?

Hörsch: I wasn't into "art" stills very much at the time although I did do some. I was just beginning a career as a commercial photographer doing mostly fashion and cosmetic stuff so I came into contact with a LOT of gorgeous women and ... I guess my main interest was an intense "scientific" investigation as to whether it was possible to fuck yourself to death.

EG: Who/what are your greatest influences?

Hörsch: My greatest influence? My cock, of course.

EG: Okaaaaay …

Hörsch: This is not a glib answer.

EG: No, we believe you …

Hörsch: It is the total, fucking truth! Everything I do is closely related to sex in one way or another. But if you're talking about artistic influences, I would have to say that I have always struggled NOT to be influenced by any one. I mean, I don't even look at other people's work if I can avoid it.

EG: Me neither. And, like me, I notice you seem a little preoccupied with fellatio ...

Hörsch: Well, it's visual. I wouldn't say I'm preoccupied with fellatio per se. But I AM totally obsessed with sex. Dangerous, [maybe even] deadly, extreme sex!

EG: What do you think is more important as an erotic photographer - challenging or arousing the viewer?

Hörsch: Well, the most important thing for me is fucking the model.

EG: Ahh, indeed.

Hörsch: But of your two choices ... I think I like to shock, to make people either love or hate the image. I don't think I care about or even think about whether the viewer is aroused. I don't know about "challenged" because that would depend on the viewer and is beyond my control. But, hell, why not!

EG: How reality-based is your "Heroin" series? The girls seem pretty natural in the poses ...

Hörsch: Everything in the Heroin series is real. At least two of the girls are now dead, both of overdose.

EG: How did you come to work with Candida Royalle's Femme Distribution Company?

Hörsch: By accident, I guess. I had the idea for the "Lovers" series and needed some production support in New York. A friend in LA suggested I call her. She put me on to some of her production people. Then, probably a year later, she decided to distribute the series. As far as I know, I'm the ONLY male to make films for Femme and, oddly enough, they were among her best sellers.