|
Jaisini, an artist of a new time and age, looks at the traditional art
concerns of good and evil in a wider perspective. As we all know, this used
to be a standard Biblical subject for the artist's exploration of the two
sides of human nature.
In Pinocchio, Jaisini introduces the performance of late modern critical
nature. It is a moralizing representation which is open to interpretation.
Little in Jaisini's art is straightforward representation. Most elements are
open to variety of interpretations, though a presence of devil in Pinocchio
brings us closer to the original concern.
As we know, from the history of art, in the art works of medieval times,
especially in the paintings of Bosch, devils appear among people during their
ordinary working lives. It epitomized the medieval belief in the real unseen
existence of demons and devils everywhere.
For Jaisini it may be a simplest message of the ever-present antagonist to
the human corrupt nature. The pictorial language of the artist is based on
his search for the unusual associations. Here, Jaisini has produced a
remarkably dramatic evocation of a turmoil at the party table. The idea of
Pinocchio may be the Bosch's type illustration of the body prevalence over
spirit. Jaisini does not show tormenting but a more contemporary kind of
punishment as a birth of a black child with a knife. His white mother is
covered with table cum-stained cloth. When the true image of the childbirth
is revealed, the shock tactic invades the space. The orgy itself, the table
and under the table seem like a replay of a crime scene.
The giving birth mother exposes the unattractive site of birth. Her privacy
is violated as she is a participant of the table orgy it seems like some
distant laughter echoed evilly in her attempt to give birth to that violent
child with the knife that cannot yet kill but targets surrounding world with
it's pirate like curve. In Pinocchio the gap between the hard, prosaic
reality grows more and more and the dreamy flexireality may be able to reflex
more truthfully contemporary life with it's complexity. No court of law yet
defined the art guilty of such reflection of unwanted truth, mimicking the
facts of physical world in connection of unlikely situations and less
expected interpretations. In the Pinocchio the puppeteer behind the staged
performance of the orgy is supposed to be the author of the painting, but is
he? The artist seems to be a mediator of social sadistic fantasies who
entered them through artistic mode on the canvas with almost childish
frivolity but with serious impact. In his works the heroes are freed from the
burden of the gendered flesh being puppets at the same table with people and
creatures of superpower or animals. The works like Pinocchio, 911, Meat
Grinder have some posttraumatic content of the world in a process of loosing
emotional content with its murderous rage and maniac annoyance of speeded
change.
The orgy which takes place at the table and under it could symbolize the
notion of an 'absolute democracy.' To the artist that is satirical, cynical,
and tragic all at the same time, 'the most shameless thing.' Jaisini shows a
committee of three at the same festive table where two are absent. The ruler
is introduced by the liar Pinocchio. The birds symbolize politicians whom
artist saw as representatives of the evils inherent in the legal and
political machinery.
By arranging the partitions of the bodies by the table cloth, which covers
and opens bodies portions, Jaisini lends an erotic dimension to the somber,
grisaille color of the painting. The effect of sobriety, the controlled orgy,
not a temperamental and eager as in Hot Dog Party, but rather dead is
achieved here. It seems that the table cloth demarcates two realities, which
are not that different from each other, with the same signs of sinnery,
evoking man's abstruse appetite for 'bad.'
The table cloth opens a view that an aphorism describes well: "the only
truths which are universal are those gross enough to be thought so."
Jaisini doesn't adopt both, reality or unreal. He allows his works to receive
different interpretations and to continue offering a mystery. A super
plasticity and integration in Jaisini's work sketch out a new cosmology with
the senses translated into visual terms.
The 'table' composition in Pinocchio, Hot Dog Party, Barbie Q, and so on,
creates a phenomenological experience of space. Some things are effective and
eternally magnetic. Jaisini as an alchemist, searches for a philosopher's
stone which can transmute base metals into gold.
He canonizes the technique of his enclosed composition of a secluded line
together with the continuous idea, almost a myth, a riddle, a fascinating
concept, the artist creates a new reality, fully integrated, with its own
laws and reasons for existence.
The choice of images like Pinocchio, which are grotesque, brings the image to
a new universal meaning. The clowns and fools are the representatives of the
carnival spirit in the everyday life. In the Bosch's "Ship of Fools' the
scene is presided over by a jester fool, whose role is to satirize the morals
and manners of the day. Fools posses the time-honored privilege to be other
in this world, the right to be in life but not of it, the right to confuse,
to tease, to act life as a comedy and to treat others as actors.
Jaisini's style is marked by theatrical whimsicalism. His use of fools in
some works could hold the artist's hope for humanity, hope that life is not
necessarily predetermined towards loss, failure, and catastrophe. To the
contrary, the artists like Bosch believed that sins of humankind are endemic
and that hell is our ultimate destiny.
Jaisini creates in a carnivalesque tone his Show Time, Talk Show, Hot Dog
Party. Barbie Q, Lunch Time, Sinphony , etc., which reflects the current
condition of historical development when life becomes a permanent mixed
eruption of excitement, spectacle, happiness, joy, tragedy, loss, conflict,
dilemma, terror, and death. Still, human destiny is conceived as open or at
least as not finally tragic and not predetermined to failure, but can change
and transform. The artist gets his impetus and irrepressible energy to
create in sometimes carnivalesque tone, as a social critique, nonetheless
serious for being theatrical, extravagant, and playful.
Carnivalesque may remain an always dangerous supplement, chellenging
destabilizing, revitalizing, pluralising single notions of true culture, true
reason, true art.
|