Marble Lady painting by Jaisini

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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.

By Yustas Kotz-Gottlieb The Offiicial Paul Jaisini Site http://members.aol.com/JaisiniArt/home.html New York 2001 Text Copyright: Yustas Kotz-Gottlieb ALL RIGHTS RESERVED

-- yustas kotz-gottlieb (yustas61@aol.com), May 10, 2001

Answers

.. you want essays about visual art which doesn't exist? the writing, in effect, becoming the visual art which isn't there simply by describing it? is that what you mean?

-- Doreen Peri (DoreenPeri@aol.com), June 22, 2003.

The art-speak does distance me a little from the experience. As a poet, I am not used to this off-screen observer view of matters as if the camera and commentary hovered in the background, cerebrated and relatively uninvolved. I suppose that is how art crit. is done, but I hunger more - like what Elizabeth Bown or Margaret Mead did for writing in anthropology. A way to engage without sacrificing the science. Thatís just my idiosyncrasy. What do you personally like/not about Jaisiniís erotics. Do they get you hot? Or does it stay pretty cerebral, as portrayal rather than imaginative engagement?

-- Red Slider (rpcred@bigfoot.com), July 01, 2003.

This reads like a thesis paper, is it? I cannot comment on this essay because I have not seen the picture -- however, I do find some of your conclusions interesting. As a thesis paper, I think you are probably okay... Joyce Freeman-Clark

-- Joyce (JFC@alaska.com), July 03, 2003.

The articles themselves are well done, the ideas expressed in a clear manner.

As for my response, I try to be a man of my word.

And about the write-ups, I need to say this: As an artist and a writer, both of which I have done professionally (although now I devote most of my time to writing) it is VERY hard for me to "get meaning" or "derive an absolute truth" from art (or even writing for that matter). Once something gets 'artsy' I tend to lose interest. A body of work, or a piece of art should do something different for each different person who views it. I am totally into comic books. I love the art. Yes, it has one purpose - to tell the story. And yet, there are many ways to do it! There are people who like an artist for how they go about their story-telling art, and others who don't like it for the same reason.

Nevertheless, in spite of my opinionated ranting, you are good at what you are doing with your writing.

-- Mathew (mattherprr@yahoo.com), July 16, 2003.


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