Marble Lady painting by Jaisini In his art, Jaisini insists on overcoming of

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.
By Yustas Kotz-Gottlieb
  
New York 1999
Text Copyright: Yustas Kotz-Gottlieb
ALL RIGHTS RESERVED
Received on Sat Oct 14 19:55:33 2000