For simplicity I will refer to Blotch as a male since that's the gender of the fictional character they estabilished as the author of the pictures, a male anthro leopard.
Even though the two artists already had some visibility on their own, Blotch appeared on the furry fandom scene out of nowhere and quickly rose to become one of the most popular furry artists of the late 2000s and early 2010s, if not the most popular. This led to quite a lot of controversy as he was the first highly skilled artist to feature anatomically correct genitals on characters - and quite prominently so.
Big Bad Wolf, 2008
If this had been only a distasteful gimmick it would have died out quickly though. Porn sells, but not consistently and certainly not for the price tags which have been consistently associated with Blotch's art. In spite of silly internet myths there is only so much that impulse buying can do.
Blotch's art has been dismissed as mere porn by some anthro fans unwilling to admit that erotic artwork could be a credit to the genre, but it has other qualities which make it stand out as iconic anthro art, well worth of being presented as one of the most important achievements in our little genre.
Speaking of Love, 2010
Blotch's erotic art in particular could come across as kitschy because of its open sentimentality, but I would argue that that is a superficial impression and that the novelty of what it tries to express about same-sex relationships experienced by young people is more important than such academic criticism.
Does sex in art need to feel gritty, smug, overwhelmingly physical and/or openly political all the time? One would think so looking at the works of recognized masters of erotic art. I'll be using male gay artists as an example here just because Blotch's subjcts are mostly male-on-male love scenes, but the situation is pretty much the same for all flavors of erotic art. There are notable exceptions like Tom Bianchi or Charles Demuth, but in most cases, from Tom of Finland to Gengoroh Tagame, from Robert Mapplethorpe to Harry Bush, power relationships are the most common underlying theme. Dominance, submission and hardcore physical sensations seem to dominate, and so does (in Western artists at least) a visual language which acknowledges and openly encourages political readings.
On the other end of the erotic gay art spectrum yaoi art leans towards more romantic tones, but power relationships are still a very prominent theme. There's apparently no escape from same-sex relationships being associated with power struggles, even if only in the imagination, whether the art in question is aimed to a male, female, gay or straight audience.
And yet Blotch's art has seduced the furry audience by focusing on something else entirely: playfulness and day to day affection.
5 More Minutes, 2008
In spite of their idealized settings the best works of Blotch are gay slice-of-life art, and not of the absurdly contrived kind brought forward by some other furry artists. It is slice-of-life in that it attempts to capure ordinary moments of affection. Any couple of lovers with an open mind and an appreciation for animals and nature can't help but smile in front of the simple and yet hard to express truths found in those images.
Don't Stop, 2014
One has to look at Far East art from centuries ago such as Ukiyo-e or Indian sacred art in order to consistently find similar light-hearted portrayals of male-on-male sexuality.
This, I believe, is why Blotch's pictures have reached iconic status in furry art even though most of them don't depict specific characters (as is usually the case in the commission dominated market of furry art). They clearly answered a need for representation that a huge number of furries shared. Sentimentality is not a flaw if it's brought out where it had been unjustly excluded and underestimated before.
And again, genuinely positive depictions of sex in art are so rare that they certainly cannot be considered a stale subject.
Minimum Security Prison, 2011
In dog we thrust, 2007
Penis party, 2013
Even Blotch's more whimsical pieces are full of the same playfulness and positivity which are the hallmark of good erotic anthro art. Whatever the subject an observer always gets the feeling that the characters are having a great time no matter their exact relationship to each other (or lack thereof), and that sincere feelings are never entirely absent from the sexual act.
Will this kind of art ever be recognized as the achievement it is outside of the anthro art niche? It's hard to tell, because even inside its niche there are people who would never take erotic art at more than face value. But I really hope it will, because what anthro artists like Blotch have done really is new and interesting in the landscape of Western art.