911 Oil painting by Jaisini
edited: Monday, December 17, 2001
By yustas kotz-gottlieb
Posted: Monday, December 17, 2001
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This triptych is an early work where Jaisini had chosen the emergency number as a decorative possibility for associative image-making.
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.
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|Reviewed by Janine peters (Reader)
|Pondering this image again for some reason I'm thinkin'
all Johnny Depp, Keith Richards, Pirates and sympathy for the Devil like Hot sweaty men at sea type things.
Perhaps that shall be upon my wall tonight.
|Reviewed by Jannine
I could never come close to what you write. I was only thinking of a short story to see if I could do it. Mostly for you. Just because you have that effect on me .An inspirational effect.I also needed Some type of outline so I checked out a book that gave the basic principles of a short story. I now have a better idea.
I was once tested to see what kind of a learner i was and in every test I always scored highly but only in visual learning. In other words I can learn anything but you have to visually SHOW me.
I can't wait to read your book!!!
|Reviewed by Brigitte
|Well there is this elitist writer who sends me regularly copies of his writings.
Well they are very intellectual breaking taboos etc, he is using a character a painter who is always in a transe..
After a while, driving this writer crazy (not easy to do, a tough nut), I said your painter is locked in the cell of your brain..He said how did you know?
then he starts his cruel game, I asked him what is the colour of your eyes, he said blue.I said fine...
He continues sending me his elitist writings, telling me to come to New York....to become a great artist..oh yes I paint too he would arrange everything, pay etc...I said I do not want your charity..what is your gain..he said it may shatter your dreams but well I am not into ladies...I said I was not dreaming.What is the colour of your eyes, he said green..
I said you are a liar, and he wrote it is the women who oppress the male thinkers??
I did not get that too.....
What is he all about, I really do not know...But I am sure he is experimenting on me....
Boy I could rewrite war and peace.....
|Reviewed by gleitzeit
|Call for submission on "The Art of Paul Jaisini by Yustas Kotz Gottlieb"
The site currently accepts entries through the guest book to be featured in the upcoming art book about Paul Jaisini the New York City visual artists including the comments of viewers. Please review your comments and respond if you agree to have your entry as a part of the book due to be in print summer 2003.
|Reviewed by maureen
|what a beautiful description. If only there was a link yo see the paintig at hand!|