In his art, Jaisini insists on overcoming of the dehumanization and the suppression of sensuality.
In every historical period there are ideas and problems that are expressed but will not come to pass.
Paul 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 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 the works always have too many aspects for anyone to fully comprehend. There is always some kind of “space” in the painting,
in which the observer feels free, without a persistent prompting of the artist, to use his own system of perception.
To me, “Marble Lady” seems 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.
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 eliminating 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. So-called civilized man can be considered in light of his delight of the 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 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 an ideal woman that parallels the artist’s own creative urge.
A post-feminist culture has found a way to reinvent the woman as she once was: eager to appear attractive again.
“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, P. 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, P. 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 inspires up ideas, shapes, and colors.
These line arabesques are the highly individual textures of P. Jaisini’s art.
A decorative role of the painting’s color is to illustrate the temperature
contrast between the heated environment and the marble-cold statue.In modern and postmodern times, there are increasingly fewer outlets
for the sensual urges and desires that 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.
Text Copyright: Ellen Yustas Kotz-Gottlieb NYC 2014


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