(oil painting by
In his art, Jaisini insists on overcoming of the
suppression of sensuality.
In every historical period there are ideas and problems
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
In the murky, anxious world of ours, in the midst of the
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
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.
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
of the search for ideal woman that parallels the artist's
urge. A post-feminist culture has found out a way to
reinvent the woman as
she once was: eager to appear physically attractive, the
The "Marble Lady" enables male domination by
being unreachable and desirable.
The construction of such a female identity fiction can
inspire both high and
natures. In all of his works, Jaisini unites the high and
art into the material life, breaking out of art's ivory
"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
based on the line swinging which starts up ideas, shapes,
The line arabesques are these highly individual textures
of Jaisini's art.
A decorative role of the painting's color is to create
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
Thank you for reading
Marble Lady (Oil painting) by Paul Jaisini, New York 1999
Text Copyright: Yustas Kotz-Gottlieb
ALL RIGHTS RESERVED