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>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
>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
>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
>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
>the sculptor Pygmalion, who used his illusionist skill to satisfy a private
>fantasy of the ideal woman. Disappointed by the imperfections of the
>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
>his prayer by bringing his statue to life and eliminated the boundary
>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
>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
>subscriber to "Penis Power Quarterly."
>The statue of Galatea was and still is the symbol of fictional perfection,
>result of the search for ideal woman that parallels the artist's own
>urge. A post-feminist culture has found out a way to reinvent the woman as
>she once was: eager to appear physically attractive, the man-made woman.
>"Marble Lady" enables male domination by being unreachable and desirable.
>construction of such a female identity fiction can inspire both high and
>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
>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.
>decorative role of the painting's color is to create the temperature
>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.
>Thank you for reading
>Marble Lady (Oil painting) by Paul Jaisini, New York 1999
>Text Copyright;Yustas Kotz-Gottlieb
>ALL RIGHTS RESERVED