I am Yustas Kotz-Gottlieb,
a writer in New York City. I write a book on art of Jaisini. I started
to email my essays to see how people will react. Many respond as they take
the email personally. I did not expect it to be so effective. I appreciate
your interest. This is a non-for-profit humanitarian mission to spread
the art word around.If you are interested in new developments in art, please email me.
Thank you,Yustas
CONTENTS:
An Artist and Two Rats - Tale for children
There lived an artist. He was looking funny in appearance. His hands were often soiled with paints and on the tip of his nose there was a black spot from a chalk which he used to draw his sketches. The artist was very forgetful. He could forget to eat lunch. He could forget to go to sleep when it's dark and everyone is asleep. He could forget a lot of things. In addition to his forgetfulness he also had a strange quality to be thinking
and not to hear when he is spoken to, not being deaf. Simply he always thought about a new picture and therefore could not always answer to a raised question. But people assumed that he was deaf in fact and they started to talk to him louder. And this was very funny. The artist lived at a large studio with enormous windows under the very roof of five story building. Sometimes he walked up the stairs to the dark and mysterious attic. The attic allured him with its secret treasures. The bottle of milk, fresh bread, fruits, few boiled eggs, a piece of smoked meet, very appetizingly looking,
were brought to his door daily. He almost never went out from his studio. A craw fish is almost like an artist in this habit never to get out of its shell, filled with secretive plans and ideas.
The artist lived like this, like real hermit, for many years, because he was a man who dedicated himself to one business. He wanted to paint many pictures. He dreamed a lot about that time when he will come out from his studio with 1000 paintings and will stun all of the world with his art. For this he forgot all the fun and pleasantries. He could think of nothing but his pictures. From aside it could be thought of him that he was a little odd, but people around him knew that he was very kind and funny. But they also knew that it is in vain to talk to him, as to the question how is he doing he could answer off the point with another question like: Does it look like it going to rain? Looks cloudy! He was only concerned with the rain, as he was scared that clouds will close the sun and in his studio there will be no light. He will not be able to work on his p! ictures. As it is very important for the artist to have a lot of day light to see the true color of paints. The artificial light changes colors. Blue seems a bit greenish from yellow light.
Sometimes the artist felt very lonely. He had no friends, and sometimes he desperately wanted to chat with someone. As he occasionally could forget to eat his food, it remained on the table till the next day. But the next day the artist would notice that the bread, cheese and eggs were bitten off. He thought that he may not be as lonely as it seems. Now, even if he ate all food he would leave some food bits on the table.
And so, once, at night he didn't go to sleep but instead quietly sat on the chair and awaited for the emergence of his unknown friend at the table in search for leftover food. Thinking about a picture as always he was as if in a dream when suddenly he heard a noise, a sound of stepping feet. He became alert. The moon light was illuminating his studio. On the easels as always there were blank canvases ready for the next picture. Paints were laying everywhere, on shelves, on the floor, on the table, on the chairs, on the bed, even in the sink. Brushes were sticking out here and there. As the artist was preoccupied with his thoughts of pictures he always forgot to tidy up. That's why sometimes he had to search for a long time for necessary thing, lost in chaos. The sounds were very loud, and no wonder as in the huge empty studio the acoustic effect was v! ery strong at night with the absolute silence. The sound of running steps seem very loud as if it was a cat or a dog. The artist was surprised, how could he not notice such a big animal, and why does it show up only in the darkness? He even felt a little chill, what if it's a ghost?
Commonly artists are like children, believing in all kinds of magic things. But soon the mystery was uncovered when in front of him appeared two well fed rats with long tails. They had sparkly little eyes. The artist was not at all upset. He liked rats unlike most people. He considered that rats are very smart animals and not at all ugly. The arrival of rats could be a result of food smell reaching the attic where they lived. One rat was named by the artist Black Ear. The other a bit smaller was named Laura.
Since that day he didn't feel as lonely. When he wanted to chat he called the rats by names and with time they started to understand him and reply to his calls. Sometimes he dedicated time to special training. The rats got used to him and was not scared. With a degree of pleasure and virtuosity they carried out any set assignment. And the artist sometimes was touched as how smart and apt they were. The rats perhaps were greatly surprised by how many pictures they have seen at the artist's home. At their hole in the attic they had none. They almost got addicted to art. The artist probably realized that as on one good day, in honor of the anniversary of their friendship he presented each rat each with the painting. And than the rats understood that the artist was unusually talented as he managed to bring out all the rat's essence and meaning in his canvases.
The artist on his behalf respected his cute friends. As no other man he had learned about goodness, smartness and kindness of rats. Once they have saved him from horrific misfortune, a fire which could kill the artist, but more importantly all of his pictures. And this how it was: As soon as a burning candle fell to start up the fire with paper on the table, Laura miraculously ran up to the candle and overturned a staying close by can with water, used to clean watercolor brushes. And maybe if not this friendship of the artist and his rats, never the dear dream of showing the world the thousand pictures and pronunciation of his real genius would come true.
Text copyrights by Yustas Kotz-Gottlieb
All rights reserved New York, 2002 send private comments to author YustasKGottlieb@aol.com
Yustas Kotz-Gottlieb
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Jaisini Gleitzeit Supermodernity
Manifesto (short version)
Jaisini
Gleitzeit
Gleitzeit style based on depiction of visual flexibility with
theoretical flexibility.
A painting which purpose is to achieve composition of enclosure.
Art based on the depiction of a circle evolution of
understanding and seeing. A kind of art which draws upon imagery
and seeks to reveal and abstract idea of the connection within.
It's flexible because it has multiple principles. Paintings with
a capacity to change visually by the artistic magic changing
your subconscious mind.
It is a session of Hypnosis which controls you by a disorganized
absolute harmony of everything expected from a "nonexistent"
picture. It depends upon the pattern of line as a primal creator
of whatever associated or disassociated from the theme.
The artist's mind is the superior beginning of the line, but the
line is free and emancipated.
Flexi is a new neo-pro-anti-post.
Text copyrights by Paul Jaisini
All rights reserved New York, 2000
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Marble Lady painting by Jaisini
In his art, Jaisini insists on overcoming of the dehumanization, the suppression of sensuality. In
every historical period there are ideas and problems which are expressed
and will not come to pass. Jaisini seeks to identify this idea in the present,
excavate it from the past, and invent it in a new way for the future. In
the murky, anxious world of ours, in the midst of the soul's confusions
and the multiplying moral losses, the artist seeks and always finds some
big and small islands of "eternal truths," and asserts the indestructible
age-long parables that reveal these truths in the new light, in his own
system of sign-images. I realized that the more you look at "Gleitzeit"
works and think, the more you see, feel, and understand, but never completely,
as given work always has too many aspects. There is always some kind of
"space" in the painting, on which the observer feels free, without
a persistent prompting of the artist, to use his own system of perception.
To me, "Marble Lady" seems as a late modern modification of the Greek myth
of the sculptor Pygmalion, who used his illusionist skill to satisfy
a private fantasy of the ideal woman. Disappointed by the imperfections
of the opposite sex, he created Galatea out of marble and during a festival
in honor of venus, Pygmalion prayed for a woman as perfect as his statue.
Venus answered his prayer by bringing his statue to life and eliminated
the boundary between reality and illusion. In Jaisini's "Marble Lady,"
the object of the intense desire remains alluring, yet perpetually distant.
Desire of the others is often imagined in terms of a fetish. The so-called
civilized man can be considered in his delight of female form.
In "Marble Lady," we find the two
types of spectatorship: the masculine and the non-masculine. Therefore,
an image of the woman is defined through the desire of both spectators,
the unmanly poet and the savage who may well be a subscriber to "Penis
Power Quarterly." The statue of Galatea was and still is the symbol of
fictional perfection, a result of the search for ideal woman that parallels
the artist's own creative urge. A post-feminist culture has found out a
way to reinvent the woman as she once was: eager to appear The "Marble
Lady" enables male domination by being unreachable and desirable. The construction
of such a female identity fiction can inspire both high and low natures.
In all of his works, Jaisini unites the high and low principles, integrating
art into the material life, breaking out of art's ivory tower.
"Marble Lady" is a compact, pyramidal
composition of the "trio." As in all of his works, Jaisini subdues the
figures to the articulation of line and its rhythmic connection between
forms in space, a sort of analytical process, based on the line swinging
which starts up ideas, shapes, and colors. The line arabesques are these
highly individual textures of Jaisini's art. A decorative role of the painting's
color is to create the temperature contrast of the heated environment with
the marble-cold statue.
In modern and postmodern times, there
are increasingly fewer outlets for sensual urges and desires which lay
at the origin of human society that imposes restrictions. Sexuality remained
beyond the scope of most art history. Interaction between male and female
is still responsible for the continued functioning of the universe.
Marble Lady (Oil painting) by Paul Jaisini, New York 1999
Text Copyright: Yustas Kotz-Gottlieb ALL RIGHTS RESERVED
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Drunken Santa, Oil painting by Jaisini
Drunken Santa is a work that creates
a miracle of equilibrium. What seemed like a clash of an opposite spectrum's
colors became the unlikely harmony in this painting. Jaisini's artistic
vision here is formed from two components of physical and emotional states
of being.
Freezing and heating serve as a symbol
to a human need for warming up from the chill of solitude by means known
to people at all times. The artist pursues his art philosophical quest
for worldly knowledge that had left its traces in many of his works. A
line of composition literally ignites the painting's surface with the movement.
The color of this work is "phosphorescent," and it create the different
planes if the subtle color nature. The warm color of purple supports the
hot color of Santa's figure and an exotic fish above Santa. This
hot color may represent the so-called material universe, the world of the
gross senses that can be observed in a sober state. The cold, arctic blue
color represents the unknown, the world of a deep state of drunkenness
where real is unreal and otherwise. The only hard reality is the self,
which never changes in any state. And maybe that is why Jaisini favors
the painting's main hero, Santa, to possess the vivacious color of fire.
Jaisini chooses this color of fire to manifest the self and the cold cerulean,
cobalt and ultramarine to renounce self as a mortal entity surrounded by
the eternal unknown.
While Santa drinks his feelings of
frigid loneliness vanish. And so, he gets a company of some almost hallucinatory
nature. A shark, a ghostly image, a profile of another prototypical drunk
who is not accidentally situated in a horizontal position. An amalgam of
the several female figures that consists of a woman in stockings, a nun,
a big-breasted silhouette that create a shadow between.
A heat can be sensed around
the hot colored Santa who has lost his beard and is holding a glass of
red wine. He shows his thumb that may be just a polite substitution for
the middle finger sign.
The colors of the work are balanced
by a virtuoso composition of a cubist character. The picture's space is
divided endlessly. More images start to appear. The world of "Drunken Santa"
vitalizes to almost chaotic state. The work is a treasure. It depicts and
witnesses the intangible mechanism of reality transformation. In the state
of intoxication, what happens to the solid world of sober state? Everything
disappears. It is just like the dream-world, that we call unreal, because
when we are awaken it is not there. Just so the solid world must be unreal
because it also vanishes in the drunk or deep-sleep states. Then what is
reality? In "Drunken Santa," this problem is elaborated to the triumphant
conclusion. The simplicity of symbolism of the warm and cold colors. The
dazzling composition of figuration superimposed to abstraction. And besides
the beauty of artistic logic, Jaisini's works are marked with the rich,
magnetic colors, as in "Drunken Santa" and others, strikingly attractive
pictures in their intricate game of light and shadow, in their absolute
congruence of visual and conceptual.
Review of oil painting "Drunken Santa"
by Paul Jaisini
Text copyrights by Yustas Kotz-Gottlieb All rights reserved New York, 1999
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Freedom of Thought painting by Jaisini
The color of this painting is an
agent of transformation that makes the
prison world illusive.
In the painting "Freedom of thought"
Jaisini has built a form of time and space that transforms the world of
prison into a dream or a thought if a philosopher, the artist himself,
laying on a plank bed of the illusory prison cell.
Freedom of Thought is populated with
images of wicked criminals and guards. However, the convicts do not carry
ugly or realistic character references but are portrayed with humor and
irony. Two crooks are playing cards. One has an Arabic-looking face with
a purple nose. His partner's face, in some parts, is a brick packing and
his eye is shielded with bars. A brick background is also found at the
middle part of the painting that supports the miniature brick structure
of the con's face. A rat and an angry dog fight for a rotten fish. At the
upper right corner the weightless hazy scene of rape blends with a flow
of the composition where all personages conjoin in the obscure carnival
of confinement. Jaisini portrays himself as its participant. His position
is, nevertheless. the most calm. He is in a condition of concentrated thinking
or in a deep sleep. The jail, as a dream or a thought, becomes unreal and
does not exist. The question arises of what reality that is in the artist's
thought or dream, or the surrounding
whirlpool world of the prison? Is this a work of art, according to Scheider,
considered as a kind of "dream turned inside out"? The painting seems to
be illusory owing to its amazing color and its references to the old-fashioned
lockup system. The state of the artist's dream or thinking could be unreal
as well. Then what is the reality in "Freedom of Thought"? Maybe it is
the "I," the creative self, which is pure consciousness, the witness of
these three states, the motive power to survive, to create, to think. Jaisini's
internal psychic flexibility permits him identification with and portrayals
of a wide range of characters and themes.
A female guard is peeking at a well-built
imprisoned man.
The artist shows that the quest for
happiness was endless and vain for him until he stopped searching outside
for something that he was not able to find in the world of senses and turned
inward. "Freedom of Thought" is a work that, in a way, illustrates the
turning point of the human life when one often gets back his ability to
see the stars from the gates of hell, as Dante writes. "My
guide and I came on that hidden tunnel to make our way back into the shining
world and with no time
for rest, we climbed - he first, that I - until I saw, through a round
aperture, those things of beauty Heaven holds. It was from there, at last,
that we emerged to see again the stars."
Freedom of Thought (Oil painting)
by Paul Jaisini, New York 1999
Text Copyright;Yustas Kotz-Gottlieb ALL RIGHTS RESERVED
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Hot Dog Party Oil Painting by Jaisini
In Hot Dog Party, an image of rapid
apocalypse is represented by a bacchanalia, an ultimate celebration of
body and soul, when its participants seem to think that they are going
to die the day after tomorrow.
As we come to the close of this tumultuous
century it is clearer than ever that the human kind is in peril. Our old
values seem shaky and inadequate. We try to catch the last chance of a
total and final festival, as there is going to be no tomorrow. So, today
should be the fiesta. And every day is like the last day. May be that is
why every third American is overweight?
Jaisini's portrayal of the last bacchanalia
is glorious and monumental, as a praise to the human flesh that is so eager
to satisfy itself, as long as it exists. The overtone of apocalypse is
given by a presence of an idol and a devil, as the silent witnesses of
all orgies at all times. And, no matter for how long the Darvian evolution
will go on, the human body is all the same, with its insatiable hunger,
its uncertainty in the future. Perhaps we need to seek the answers from
those like Jaisini, who had retreated into a private recess of fantasy
and imagination, to approach a more vivid reality.
A line connects all the picture's
elements into a unity without central powers. All the images are
autonomous and equal. The energy is everywhere, but there behind the canvas,
exists the hidden central power of the artist, creator. The work illustrates
our human attachment to bodily pleasures, and the fear of physical termination.
The fiesta is a way to catch a peak of eternity. This phenomenon became
an attitude of the everyday life, when each of us striving to stop the
time and to gratify the body by any means, at any price. The quest for
eternal enjoyment in the outside, physical world brings the emptiness in
the inside world, and therefore the man's quest is never completed. It
is a closed circle.The only reality is the individual existence of the
self. Jaisini uses the motif of fiesta to portray the all human problem
of temptations, pleasures and miseries of the sense world. Meanwhile,
the voice of inner soul, or God, is the artist's power that is unseen.
The driving force of our existence is this warring of the high and law
that invariably goes on inside us.
Each participant of the "Hot Dog
Party" is absorbed in his own realm of pleasure. The orgy is at a stage
of lost control. Even Beelzebub wants to drink more and his eye is popping
out for more wine. The anticipation moistens his jaws. Down under him a
man puts an earthworm in his mouth. A bare thigh of a woman in the
black stockings is almost of the same color as the table cloth that covers
the rest of her body. Three emptied bottles stay on the table's edge. A
yellow back light creates a serene, separate segment of a still life. The
two turndown bottles may symbolize "vanitas" as does an overturn
cup in the Holland still-life. One of those bottles is pointed towards
the inside of spread legs which belong to another young woman who lies
on the table and bends sensually. Next, the figure is of a ballerina. She
extends her leg all the way to the turndown bottles. Her underwear shows
the red marks. A female figure at the left lower side is painted in an
intense color of gold, yellow ochre. She widely spreads her legs and examines
herself. Next is a strange flaming creature who lies on a burning charcoal
being deadly drunk and unconscious. A couple of cowboys sing while eating
and drinking, as in a moment of their personal glory. Above them there
is a red fat body of a person whose sex is defined by a sausage on a plate,
covered by his heavy stomach. He is ready to swallow a second sausage that
he observes passionately. In turn he is watched by an old goddess. In this
part of the painting the color contrast is rendered by an image of ghostly,
pale man who looks avariciously at a young woman who sits on the table's
edge and drinks wine directly from a bottle. Her body is in purple color
with red reflects. The light on her face and the highlights on her hair
waves are yellow, the shadow is deep.
"Hot Dog Party" is painted in a challenging
color range. It demonstrates the artist's great mastery and command over
color. The red dominates the painting. It is refined and elaborated with
a variety of correlating colors. The color formula of the work is fabulously
laconic, but rich. Some amount of yellow light is spread around. The white
table cloth bears pinkish casts and hints of surrounding color. Just enough
of some blue and green to ignite the painting with a gemlike color game.
Review of oil painting "Hot Dog Party"
by Jaisini
Text copyrights by Yustas Kotz-Gottlieb New York, 1999
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Blue Zone (I love LA) Oil Painting by Jaisini
Jaisini starts his work from a captivating
subject and consciously explores his Gleitzeit style, focusing on the composition
of entangled and enclosed line. As a result of this double approach the
subject of an artistic elaboration takes the most unexpected outcomes and
viewpoints. The images can look like an outcome of the deliberate choice,
a product of the artistic revision. But could it be just as well
a happy accident?
Blue Zone is an early period of Jaisini,
where the graphical and color denotation systems are used to flatten the
picture's surface. The principle of a dark line over a deep-colored
ground looks less natural than a dark line on a light ground. The
topographical line of Blue Zone, which depicts Los Angeles, has a full
aesthetic balance by refusing an illusional depth, by highlighting
the two-dimensional sapphire surface of the painting. The saturation
of the color on the surface has a memorable effect of a cold shadow. This
can abstractly signify an isolated, hermetic zone of a postindustrial society. The
composition of full linear connection may as well represent the idea of
postmodern closure of horizons, a world without an appropriate past or
imaginable future but interminable
recurrent present.
Even though many personages of Blue
Zone have their own color embodiment the saturation of the blue in the
background creates an atmospheric effect and unites all the images by a
cold short-wave cobalt light. No wonder that all of the elements
seem to be smaller and further than the actual flat environment of the
surface.
In Blue Zone, Jaisini introduces
an abstract element of connected line that unites and submits all of the
images, planes, and details to this external force of the secluded line.
The work shifts from the representational to abstract as a sort of a separate
Einsteinium theory. Los Angeles has often been referred as a postmodern
city. It lacks a center, having a disintegrating downtown area. It is a
city of movement, something that is perfectly symbolized by a parallelogramic
topographic linear map of
Blue Zone painting. This picture
represents the Angelinos who are quite at home in the ordered game of the
line. The Blue Zone residents are surrounded by bare walls of spiritless
modern architecture.
he Blue Zone's residents among others
are: an oriental karate-man; a bald "Babbit" with his "rabbit-heart" is
being hypnotized be a cobra; a sitting mature black man; a white-trashy
looking prostitute; a Latin profile hidden in spatial juxtaposition; a
large
profile of an old weeping woman
with a fish in her toothless mouth and others.
The city of Los-Angeles can't
be reduced to a single principle: not to the motor car nor to the freeways,
not the city's lack of hystory nor the dream factory and Hollywood, nor
the beach, not the smog, not the sun.
Wrapped around all these principles
is the line of intersection of interdependencies which have developed its
own rules with its own claim to represent the essence of postmodern city
life. Blue Zone exemplifies the whole line of social dysfunction
of environment which is filled with graffiti, vandalism, sexual trade and
assault, eroticism, family breakdown, and
crime.
But still Blue Zone has the tranquillity
of its glowing color which encompasses hope even in the critical perspective
of Jaisini's work.
It can be concluded that in a single
space of this picture the several artistic sites and attitudes are adjoined
which are in themselves incompatible: the movement and the philosophy of
decay; the asymmetrical trajectory of the 'postmodern' build environment
and the infinitely beautiful, unchanged blue depth. The fight of abstraction
vs. representation. All of which together denote the strategic double
think and multipatterns of our current life.
Review of oil painting "Blue Zone" by Paul Jaisini
Text copyrights by Yustas Kotz-Gottlieb All rights reserved New York, 1999
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Talk Show Oil painting by Jaisini
Talk Show is a painting that proves
the idea that we live in a postmodern world of the apparent loss of any
reasonable hope for alternative to the present.
In Talk Show, immediacy unites with
immortality, trivial with profound. In our days the long myth of immortality
is replaced by the myth of immediacy. The substitution of the trivial
for the profound for many was a loss, rather than a gain, although, the
will to be immediate speaks more directly to our lives. Jaisini unites
the two principles, searching for unique ways that can create this double
effect of a physical lowland, united with the philosophical purity of mind.
Talk Show has a significance of the biblical wisdom based on a street scene.
In Talk Show, Jaisini pictures not the 'dark side' of people, but the substantial
one, when sex became 'the lyricism of the masses'.
The picture shows that we live in
a more cynical, realistic time by means of parody. The new cynicism is
the old one. The work is timeless and can relate to anyone. Talk Show has
the analogous environment as in the work called Show Time; the crowd representatives
and the image that centers the crowd's attention. In Talk Show, it is the
two dogs in an intercourse that attract the attention of different people
of the crowd. In the painting we can clearly see the interlocked line of
composition. This line flows freely as an unconscious line. The absence
of an 'end' in Jaisini's composition may be the artist's revolt against
the end of ideology and the general failures of social theory, obsessed with 'ends',
with visions of finished worlds and finalities. Modern society was
once based on a principle of expansion, but having reached a certain 'critical
mass' it has begun to recoil. Is this why Jaisini creates his secluded
line composition?
What we are witnessing in the domain
of the social is a kind of inverse explosion. The artist avoids to break
the line because any attempt to save the principle of expansion is not
'archaic' and regressive. The principle of enclosure is the radical inquiry
for continuance. Jaisini has found his way to avoid the end-state. His
closed circle of composition creates a new visual code which guarantees
the 'addressee,' a recognizable meaning. The Talk Show mockery reflects
the contemporary condition of Byzantizm. It could be mentioned here
that even in Cicero's time, the ancient world was becoming stupid. Talk
Show may symbolize the mass communication as an enclosing circle connecting mass
culture and its audiences of 'mass conformist,' the picture's title can
be attributed to the fact that consequently television, along with the
rest of mass culture, has become an undreamed-of medium of psychological
control. We become part of mass communication circuits, part of a
realm and era of connection, contact, feedback, an era that is 'obscene,'
yet lunar cold. The reason why the artist prescribes the emerald color
to his painting may be to symbolize the coldness of the contemporary world
of communications which contacts penetrate without resistance. In
the picture, we see the dogs' intercourse as the critique of the talk show.
by Yustas Kotz-Gottlieb
"Talk Show" Oil Painting by Jaisini
New York 1999, Text Copyright;Yustas Kotz-Gottlieb ALL RIGHTS RESERVED
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Blue Reincarnation Narcissus Oil painting by Jaisini
The theme of Narcissus in Jaisini's
"Blue..." may be paralleled with the problem of the two-sexes-in-one, unable
to reproduce and, therefore, destined to the Narcissus-like end.
Meanwhile, the Narcissus legend lasts.
In the myth of Narcissus a youth
gazes into the pool. As the story goes, Narcissus came to the spring or
the pool and when his form was seen by him in the water, he drowned among
the water-nymphs because he desired to make love to his own image.
Maybe the new Narcissus, as in "Blue
Reincarnation," is destined to survive by simply changing his role from
a passive man to an aggressive woman and so on. To this can be added that,
eventually, a man creates a woman whom he loves out of himself or a woman
creates a man and loves her own image but in the male form.
The theme of narcissism recreates
the 'lost object of desire.' "Blue" also raises the problem of conflating
ideal actual and the issue of the feminine manhood and masculine femininity.
There is another story about Narcissus' fall which said that he had a twin
sister and they were exactly alike in appearance. Narcissus fell in love
with his sister and, when the girl died, would go to the spring finding
some relief for his love in imagining that he saw not his own reflection
but the likeness of his sister.
"Blue" creates a remarkable and complex
psychopathology of the lost, the desired, and the imagined. Instead of
the self, Narcissus loves and becomes a heterogeneous sublimation of the
self.
Unlike the Roman paintings of Narcissus
which show him alone with his reflection by the pool, the key dynamic in
Jaisini's "Blue" is the circulation of the legend that does not end and
is reincarnated in transformation when autoeroticism is not permanent and
is not single by definition.
In "Blue," we risk being lost in
the double reflection of a mirror and never being able to define on which
side of the mirror Narcissus is. The picture's color is not a true color
of spring water. This kind of color is a perception of a deep seated human
belief in the concept of eternity, the rich saturated cobalt blue. The
ultrahot, hyperreal red color of the figure of Narcissus is not supposed
to be balanced in the milieu of the radical blue. Jaisini realizes the
harmony in the most exotic color combination.
While looking at "Blue," we can recall
the spectacular color of night sky deranged by a vision of some fierce
fire ball. The disturbance of colors create some powerful and awe-inspiring
beauty.
In the picture's background, we find
the animals' silhouettes which could be a memory reflection or dream fragments.
In the story, Narcissus has been hunting - an activity that was itself
a figure for sexual desire in antiquity. Captivated by his own beauty,
the hunter sheds a radiance that, one presumes, reflects to haunt and foster
his desire. The flaming color of the picture's Narcissus alludes to the
erotic implications of the story and its unresolved problem of the one
who desires himself and is trapped in the erotic delirium.
The concept can be applied to an
ontological difference between the artist's imitations and their objects.
In effect, Jaisini's Narcissus could epitomize artistic aspiration to control
levels of reality and imagination, to align the competition of art and
life, of image with imaginable prototype.
Jaisini's "Blue" is a unique work
that adjoins reflection to reality without any instrumentality. "Blue"
is a single composition that depicts the reality and its immediate reflection.
Jaisini builds the dynamics of desire between Narcissus and his reflection-of-the-opposite
by giving him the signs of both sexes,but not for the purpose of creating
a hermaphrodite.
The case of multiple deceptions in
"Blue" seems to be vital to the cycle of desire. Somehow it reminds one
of the fate of the artists and their desperate attempts to evoke and invent
the nonexistent.
"Blue" is a completely alien picture
to Jaisini's "Reincarnation" series. The pictures of this series are painted
on a plain ground of canvas that produces the effect of free space filled
with air. "Blue," to the contrary, is reminiscencent of an underwater lack
of air; the symbolism of this picture's texture and color contributes to
the mirage of reincarnation.
"Blue Reincarnation" (Oil painting)
by Paul Jaisini,
New York 1999, Text Copyright: Yustas Kotz-Gottlieb ALL RIGHTS RESERVED
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911, Oil painting by Jaisini
This triptych is an early work where
Jaisini had chosen the emergency number as a decorative possibility for
associative image-making. The artist may like the subject for its close
connection to matters of life, death, and super power. He has utilized
the idea not only for its symbolic meaning, but also for a visual purpose.
In the triptych, side by side, coexists
a depiction of eternity, ("1" with water), and a briefness of human life
("1" with Icarus). The spatial fragmentation is a visual mode that creates
a close up view. The large 9, 1, 1 numbers are inserted and incorporated
in the paintings' surface which creates an optical illusion, as during
a film development, when images emerge from the background.
The left part of the triptych is
No 9. This painting unites the number with a mob of demons who were brought
together by a woodoo dance. The picture is willfully enigmatic but, at
the same time, has a great power of not the phenomena it depicts, but rather
the medium itself, an integration of the number with images visually.
An anomalous space relationship in
the three parts creates magic experience of flame, water, and fall. The
three parts of the "911" triptych are to be read as a unity from left to
right. The layering juxtaposition of images spins the work in a dynamic
movement.
"9" part exhibits a dance of spells
when dark powers unfold the disaster. This left part of triptych
with "9" reminds an arched gateway to Hell with the head devil situated
diagonally from the top left corner towards the right foreground. This
image is actually a large wooden mask with a huge white fang. A blue razor
blade pierces its nose. The demon's eyes are rolled in from his exaltation
of the weightless, ritual dance.
The artist disguises his personages
of dark forces as monsters. For ages the Last Judgments on the walls of
churches had made much of frightful and grandiose monsters. Jaisini applies
the humorous overtone to a theme of supernatural. In the center of "9,"
there is a nude female demon with red, absent eyes and bulging tongue,
which speak more of her own ecstasy than of terror. The color of
"9" is not of an infernal pit, but instead is a heated color of the African
sun that liquefies air.
"1" with water shows "Flying Holland,"
a phantom-ship, a legendary sign of disaster for sailors. The ocean depths
hold the remains of the shipwreck. Skulls and treasures suggest of
the life's and earthly possessions' transience, "the momento mori" of a
physical life.
You may question the connection of
the three pictures and find some interesting possibilities. What we have
in "911" is not a universal course of events. It is an ordeal of one man,
who stays behind his creation and is a survived prototype for his own judgment.
Neither the beginning, nor the end
of his tormented existence is constructed here, but the lesson of a legend
is. To fulfill his concept, Jaisini uses the personages of Icarus
who is a traditional image of an inventor. The portrayal of Icarus by Jaisini
is a spiritual trial, the expression of delimitation that can happen of
just-awakened and terrified consciousness of man. Creation brings
the artists close to the destructive powers from beyond. Artists
and inventors are familiar with this feeling of fall into abyss that can
also be a moment of rise. Icarus is shown in the triptych separately
from the treasure of the middle part (1 with water) as he is not a mediocre
man who used to be the center of philosophical investigation as, for example
in Bosch's "Death and the miser."
In Jaisini's "911" the Four Last
Things, Death, Judgment, Hell, Heaven, turn out in an unusual way.
Icarus looks at the destination of his fall with a weak, last hope, just
as the Bosch's dying miser-man, for a miracle. In Jaisini's version, no
one passes the test of Last Judgment, except for Icarus. He represents
the creative kind, whose legend never dies. He is the one mortal left to
face his destiny, yet undecided, is it to be the rise, or the fall?
The "911" triptych creates a concept
of a life cycle that does not stop, that blasts energy even through death.
The work is a new poetic representation of the human dream to reach powers
which do not belong to the human nature. When the limits are being
pushed to a critical point resulting in disaster, God is the one who is
being called upon. In Jaisini's work, God is not rendered visually, but
could be the painting's concept, a code of numbers for help, 9 1 1. The
triptych has its aesthetic durability of a new confessional style.
Review of "911" by Paul Jaisini
Copyright ©2000Yustas Kotz-Gottlieb. All rights reserved. New York
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PINOCCHIO, Oil painting by Jaisini
Jaisini, an artist of a new time
and age, looks at the traditional art concerns of good and evil in a wider
perspective. As we all know, this used to be a standard Biblical
subject for the artist's exploration of the two sides of human nature.
In Pinocchio, Jaisini introduces
the performance of late modern critical nature. It is a moralizing representation
which is open to interpretation. Little in Jaisini's art is straightforward
representation. Most elements are open to variety of interpretations, though
a presence of devil in Pinocchio brings us closer to the original concern.
As we know, from the history of art,
in the art works of medieval times, especially in the paintings of Bosch,
devils appear among people during their ordinary working lives. It epitomized
the medieval belief in the real unseen existence of demons and devils
everywhere.
For Jaisini it may be a simplest
message of the ever-present antagonist to the human corrupt nature.
The pictorial language of the artist is based on his search for the unusual
associations. Here, Jaisini has produced a remarkably dramatic evocation
of a turmoil at the party table. The idea of Pinocchio may be the Bosch's
type illustration of the body prevalence over spirit. Jaisini does
not show tormenting but a more contemporary kind of punishment as a birth
of a black child with a knife. His white mother is covered with table cum-stained
cloth. When the true image of the childbirth is revealed, the shock tactic
invades the space. The orgy itself, the table and under the table
seem like a replay of a crime scene. The giving birth mother exposes
the unattractive site of birth. Her privacy is violated as she is a participant
of the table orgy it seems like some distant laughter echoed evilly in
her attempt to give birth to that violent child with the knife that cannot
yet kill but targets surrounding world with it's pirate like curve.
In Pinocchio the gap between the hard, prosaic reality grows more and more
and the dreamy flexireality may be able to reflex more truthfully contemporary
life with it's complexity. No court of law yet defined the art guilty
of such reflection of unwanted truth, mimicking the facts of physical world
in connection of unlikely situations and less expected interpretations.
In the Pinocchio the puppeteer behind the staged performance of the orgy
is supposed to be the author of the painting, but is he? The artist
seems to be a mediator of social sadistic fantasies who entered them through
artistic mode on the canvas with almost childish frivolity but with serious
impact. In his works the heroes are freed from the burden of the gendered
flesh being puppets at the same table with people and creatures of superpower
or animals. The works like Pinocchio, 911, Meat Grinder have some posttraumatic
content of the world in a process of loosing emotional content with its
murderous rage and maniac annoyance of speeded change.
The orgy which takes place
at the table and under it could symbolize the notion of an 'absolute democracy.'
To the artist that is satirical, cynical, and tragic all at the same time,
'the most shameless thing.' Jaisini shows a committee of three at
the same festive table where two are absent. The ruler is introduced by
the liar Pinocchio. The birds symbolize politicians whom artist saw as
representatives of the evils inherent in the legal and political machinery.
By arranging the partitions of the
bodies by the table cloth, which covers and opens bodies portions, Jaisini
lends an erotic dimension to the somber, grisaille color of the painting.
The effect of sobriety, the controlled orgy, not a temperamental and eager
as in Hot Dog Party, but rather dead is achieved here. It seems that
the table cloth demarcates two realities, which are not that different
from each other, with the same signs of sinnery, evoking man's abstruse
appetite for 'bad.'
The table cloth opens a view that
an aphorism describes well: "the only truths which are universal are those
gross enough to be thought so."
Jaisini doesn't adopt both, reality
or unreal. He allows his works to receive different interpretations and
to continue offering a mystery. A super plasticity and integration in Jaisini's
work sketch out a new cosmology with the senses translated into visual
terms.
The 'table' composition in Pinocchio,
Hot Dog Party, Barbie Q, and so on, creates a phenomenological experience
of space. Some things are effective and eternally magnetic. Jaisini as
an alchemist, searches for a philosopher's stone which can transmute
base metals into gold. He canonizes the technique of his enclosed
composition of a secluded line together with the continuous idea, almost
a myth, a riddle, a fascinating concept, the artist creates a new reality,
fully integrated, with its own laws and reasons for existence.
The choice of images like Pinocchio,
which are grotesque, brings the image to a new universal meaning. The clowns
and fools are the representatives of the carnival spirit in the everyday
life. In the Bosch's "Ship of Fools' the scene is presided over by a jester
fool, whose role is to satirize the morals and manners of the day.
Fools posses the time-honored privilege to be other in this world, the
right to be in life but not of it, the right to confuse, to tease, to act
life as a comedy and to treat others as actors.
Jaisini's style is marked by theatrical
whimsicalism. His use of fools in some works could hold the artist's hope
for humanity, hope that life is not necessarily predetermined towards loss,
failure, and catastrophe. To the contrary, the artists like Bosch believed
that sins of humankind are endemic and that hell is our ultimate destiny.
Jaisini creates in a carnivalesque
tone his Show Time, Talk Show, Hot Dog Party. Barbie Q, Lunch Time, Sinphony
, etc., which reflects the current condition of historical development
when life becomes a permanent mixed eruption of excitement, spectacle,
happiness, joy, tragedy, loss, conflict, dilemma, terror, and death.
Still, human destiny is conceived as open or at least as not finally tragic
and not predetermined to failure, but can change and transform. The
artist gets his impetus and irrepressible energy to create in sometimes
carnivalesque tone, as a social critique, nonetheless serious for being
theatrical, extravagant, and playful. Carnivalesque may remain an
always dangerous supplement, chellenging destabilizing, revitalizing, pluralising
single notions of true culture, true reason, true art.
by Yustas Kotz-Gottlieb
"Pinocchio" (Oil painting) by Paul Jaisini,
New York 2000, Text Copyright;Yustas Kotz-Gottlieb ALL RIGHTS RESERVED
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WET DREAM, Oil painting by Jaisini
Wet Dream, an oil painting by Jaisini, in terms of exploration of own
sexuality, dreams, or nightmares, belongs to a human traditional need for
personal revelations. The imagery of the work is of a usually Jaisinesque
theme that is not to be a statement or an illusion, but which summons the
emotions.
In Wet Dream, the feelings of morning euphoria and desire create a new
formula of early life's passion. Jaisini delivers a high sensory level through the graduate, almost hypnotic
step by step desire awakening.
The work precedes the Reincarnation series. As in all of his paintings,
Jaisini pursues a metamorphosis of the physical and mental states. In his
works, the concept and the material are enclosed and inserted within each
other. The essential visual vehicle is in a line, that emphatically has a
life of its own and could be perceived as an automatic release. The enclosure
of the line is not only graphical, but also symbolic of the connection
between the picture's elements which await their disclosure.
In the years of cubism, Andre Masson created his series of erotic drawings.
In his works, Masson portrayed pure erotica with total absorption in the act,
orgiastic, uncomplicated, and a little banal. The lack of diversity in such a
subject matter as eroticism resulted in the Masson's scenes of pairs, trios,
or even dozens of naked women interacting in a sexual way with one another.
Masson filled these scenes with a Rubensian appreciation of the flesh and its
pleasures, the very quality which impoverishes the otherwise fruitful area of
human psyche.
Jaisini, on the contrary, uses the sensual overtones to enrich and explore
the mysterious realm of mind potential. So, instead of creating
automatically, similarly, and limited, Jaisini employs his mind to complicate
and develop the subject of desire.
In Masson's erotic series, the only sentiment is the libidinous desire.
Jaisini reflects a different time and epoch that is not satisfied with the
simple approach. Jaisini combines together the physical with psychological,
which becomes nearly a game.
The expressionistic line swirls flow in the open canvas ground and embrace
the canvas in expansive loops. The work is airy.
The artist's thought transfers line into an image of a contraposto torso with
a liplike part on the neck cut. Another female images express their physical
and emotional concerns. The bottom lean figure indicates the young age of
this female. In turn, that may explain the desperate pose for the erotic
fulfillment. The third blond woman at the upper right corner appears to be
more sexually mature. She holds a big breast that belongs to another female
with a face that has only big red lips and flowing down hair lines. Here, we
find a profile of a man who seems to sniff the aroma of the female bodies not
without pleasure. In the center, there is another gasping profile. The
curvilinear forms enhance the overall impression of a fluid movement, which
so well corresponds to the erotic sensation. A phallic finger touches a soft
pillow and charges erotic energy in all other phallic configurations in Wet
Dream.
All images link in their conscious-unconscious, figurative-abstract
condition.
The cycle of desire goes on endlessly and is at the core of human existence.
In Wet Dream, Jaisini liberates the desire from the self. In this well born work of art the desire is taken for a model.
The work demonstrates what we know of creation to be a combination of already
existing things into newer forms. That being so, the desire of man must have
been in an endless existence and will continue to dwell in bodies and in works of art to which Wet Dream is an example.
Yustas Kotz-Gottlieb
Review of "Wet Dream" by Paul Jaisini
Copyright ©2000Yustas Kotz-Gottlieb. All rights reserved. New York
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SINPHONY painting by Jaisini
The artist engages us in a mysterious arena of the inner process of creation.
The nature of creative work is such that it is unanalyzable. It's a higher
activity of mind when unexplained energy of inspiration awakes and rises from
the lower stage to higher one.
When the mind opens the enlightenment comes to the artist, his creativity
reaches its top level. Then, the artist is almost detached from his body and
mind. The only existing thing left is the produced art. The artist is
experiencing the spiritual growth. He even feels the phenomenon withdrawal of
his soul from the physical body. The condition of trance is shown in Sinphony
by an amazing transformation of the musician's genders. Jaisini is able to
unveil hidden mysteries of creation, visually. Sinphony depicts an idea, that
the truth of art creation
is rarely pure and never simple. The perfection is a result of an inborn gift
increased by a 'hard labor.' An artist, who felt the impetus, can never be
the same person again. The recollection of his experience will become a new
source of inspiration. A circle incloses. When the artist awakes from his
creative ecstasy, he thinks that nothing looks the same as it did before. As
one cannot communicate what sugar is to someone who's never tasted sweet, or
to a man born blind what colors are, so it's impossible to describe this
experience of high artistic inspiration. But, Jaisini does it.
The nude vulnerability of the musicians' bodies is aimed to uncover the truth
about their performance in its final beauty, when hardships are concealed.
Looking at the painting, I sense a strong aesthetic power radiating from the unseen author. It seems
that Jaisini has poured out all of his inspiration and temperament on the
canvas, counterbalancing the overflow of colors with graphical values. The
picture could be the prize for its creator. For all
that he had sacrificed in his life to be able to fully integrate into his
art. The artist may not be able to explain how and why he could do this,
looking with astonishment at his own work. He may try to understand, to look
for a reason that may exist in a form of a live sound of symphonic orchestra.
The composition is ignited by the conductor's spread hands. His right hand
embraces a nude woman with black hair and red mouth. The conductor's black
figure seems to carry her nude torso.
A central cello player is a naked blond with spread legs. Her right hand
holds a bow that is pointed straight between her legs. And, her left hand
holds the cello handle that reminds a long penis. The keen impression of
possible masturbation here creates a vibration of musical ecstasy.
To the right from the central figure of cello player, there is a violinist in
a black attire. Even though he is a man, his lower body is naked and has the
female sexual features. This signifies the metamorphosis of creation.
The absolute black color at the upper right corner counteracts with the flesh
color of bodies. It creates a gap of macrocosm in the picture's bursting
color composition.
Sinphony creates a system of multiple levels of impression. Layer after
layer, it opens the mind for a new vision, freed from all limitations. The
picture's space expands. The picture is an independent reality with its own
absolute point of view.
Layer after layer, the painting is perceived and the spectator penetrates in
art and feels the pleasure in its peerless delight. The same way as the
artist before, the viewer now feels that "nothing looks to him as it did
before; that he is awaken for the first time."
Modern scientific thinking has reached a stage where physicists have been
forced to abandon the ordinary worlds of the so-called sense perception. In
the works of Jaisini, we learn about the complex creative principles which
combine the known and the unknown knowledge. Every Jaisini's painting has a
universal sense and the unquestionable beauty. The artist perfects his senses and, therefore, is able to uncover more
reality.
Our common senses delude us by bringing knowledge that changes often. That is
why the great work of art is so valuable, as a last piece of unchanged
harmony. Progress may bring more inventions and machinery. There is only a
narrow field of the human emotions that cannot be affected by the changing
world. Those are the eternal questions of human nature that will always be
asked by some inquisitive minds.
Every work of Jaisini opens those sometimes dark mysteries of human soul. In
Sinphony, Jaisini engages sensuality to successfully animate classical music.
It is new and frivolous. It explores that narrow field of the emotions that will always touch and
affect human minds. Sinphony has inspired Jaisini to continue to work on the
subject and create a series.
Sinphony (Oil painting) by Paul Jaisini, New York 2000
Text Copyright: Yustas Kotz-Gottlieb ALL RIGHTS RESERVED
