Creativity of Jaisini is not designed to be preaching or too critical. Paul Jaisini reached his level of mastership to know exactly that life is worth living to look in the future having no regrets about the past. There was a motto for New Yorkers to go on living and conducting business as usual in order to fight the very concept of terrorism, fear. And being cosmopolitan as Londoners or people of world greatest cities New Yorkers prove to be hard to scare. The spirit of great city is in cutting edge works of Jaisini where instead of pity the eye of the viewer would dwell on a paradoxical puzzle. There is a given subject and a special aura of happening but to Jaisini it's not sufficient to fulfill his artistic ambition to just record the rubble and destruction. The postmodern period drove artists to bestow a lot of debris on their canvases and installations destroying established artistic harmony in antagonistic style of new trend. The historical period must have bring to the fore new demands on art one of which would be the removal the generally pessimistic approach and to stimulate yet another new beginning if not new Renaissance. In tradition of Postmodernists we would see New York in code orange through the piles of trash remains from the two buildings not long ago the quintessential epitome of industrial era and progress of the western world. Would those art works help to heal emotional distress of knowing that human bodies and the parts of them were attached to those postmodern looking pieces of rubble? Certainly not and the motto of living your life with no regrets would be betrayed by the need of postmodern straightforward shock and open hatred to the unsophisticated. Jaisini is the most sensitive medium to rationalize the need of humanistic art but at the same time he is not able to create anything regular and predictable. Every picture dedicated to NYC in code orange is a mini scenario for a performance with different characters, roles, subtexts and screenplays. Every actor in Jaisini's visual rendition of NYC in code orange is usually a typical New Yorker conducting daily life and encountering not exactly common situation set up by the art director who came up with his own vision of what life could be like in a city that is no longer unbothered. To realize artistic intent of creating such visual scenarios technically Jaisini had to work with photos as he would do with his oil paintings or watercolors, fully manually without any automatic options, as it would reduce degree of realistic style he aimed to achieve and control over light and pictorial depth. Jaisini accomplishes both conceptual and visual agreement as the artist who had profound one of a kind talent to be controversial and at the same time strongly connected to the yearnings of human soul. The series of art works dedicated to NYC in code orange is not a view anyone would expect from a contemporary artist who might desire to exploit the situation for attention. Jaisini avoids put-on artistic attitude having different interests in artistic action such as allowing the viewer to enter the premise of art without anguish and start to understand aesthetic intricacy with few suggestive clues of the puzzle. The series about NYC in code orange is continuation of the artist's previous works, which are defined by the common style of Jaisini's art based on the transformation of time reality and space. The Style is identified by the term Gleitzeit that is translated as flexi time. The concept gives endless but challenging possibilities as in each work Jaisini has got to find a puzzling game of time, concept and space with the use of his personal visual scale and artistic elements. He wants to have theatrical performance but of unusual nature or time. Maybe what he created in New York series is giving a glimpse of what New York streets would look like in futuristic utopia with perpetually developing myths of human life, human wisdom, and unlimited potential. Jaisini shows that unlimited potential exists in contemporary art for the creative character that would never settle for less and mundane approach of sensationalistic bravado. That is why Jaisini's art works are highly demanded and anticipated. The series contains titles alone provoking immediate desire to see the entire endeavor. "Untitled or Fuck them all", "Child in Time Squared", "Do Not Cross Yellow Lines", "Twisted Window", "Shockwave-2", "Conspiracy", "Lunch and Death Situation", "Lost Loved One", "Arabian Denim", "Ein Schwei"n Drei", "John 9.13-41", "Powerful know that He is", "A Queens homeowner last night shot dead a would-be burglar" and others. Jaisini described his hunt for ideas to be tiring mental and physical exercise leg working (foot-killing) Manhattan that is a place instantly inspiring with its hyperactive nature and multi dimensional space not simply defined by architecture, street map, and human monsoons, but by dimension of desire, intense quest for fulfillment, human race to get to that special place on the very top of the twin tower where finally the lucky one would observe the particles of mass below from the highest point of achievement. The work titled "The Big Idea" explained by Paul Jaisini in a personally unusual way. The viewer would hardly get that far in the understanding of the picture and this is a great advantage of such art having multi faceted subject matter. "From my 76th Floor I can only see a point, a dot. From your position you must see what I meant installing this statue in front of my office building." (The statue is of a 7 yards tall bronze Phallus in the water fountain pool with black marble walls). Every work is beautiful on formal and conceptual level. You could endlessly meditate looking in the Mirror reflection of the Lincoln Continental Limo where in the glossy depth of non-existing upside-down dimension the sinking cathedral is decorated with star spangled banner honoring lost souls of this world beyond. The refraction in the mirrored surface indicates a development of new defragmenting inside the unknown dimension, the detached part of a skyscraper and approaching military airplane. That day when the planes did fly in real time most reacted to the picture on their Internet welcoming window as if it was a promotion of new Hollywood hardcore action movie. The picture titled "Six to Go" might represent that moment of emotion when serenity of any middle class New Yorker was abruptly invaded by the indecent not yet understood, outrageous, extreme to the max act of treacherous war. In the picture "Six to Go" there is a group of people as in majority of the works from NYC in orange code collection by Jaisini. He rarely endows star role to one character and places importance on connection within the participants. The street, Canal Street in China town, is a place commonly visited by artists thanks to the largest in town art store that carries all conceivable supplies to give the artist the moment of personal glory working with English oils W & N on Belgium Linens. In the course of hunting for images that would fit into Jaisini's concept kept in the artist's mind storage Jaisini took countless amount of pictures every time concentrating on composition, light, depth and perspective. While reviewing the day-worth take he would find an image that could interest him as in the work "Six to go" a rare find of character he would not foresee for the casting. A senior New Yorker that was holding her fluffy foxy dog as if it was a precious infant looked in direction of the area where the remains of the towers minimized to one piece of metal row of bars that looked supernatural or as a sign from above offsetting the unchanging grandiose rubble monster of ruined giants. Nobody at that time was allowed to approach the monster who must wanted to devour more human flesh and therefore police barriers supposed to prevent curious city dwellers such as the woman with her foxy dog to take a better look. In Jaisini's version the New York "finest" at his position is a special man, Mario who exited Nintendo dimension to assist fellow citizens at times of need determined to serve his cause and state to the participants that this time "this is not a game". Several works were inspired by the underground environment of New York subway, "Lucky", "Missing", "Last Day", "Short Cut" or "34th Street Station", "Elevating Mental State" and in abandoned train routes in disrepair in Brooklyn on 1st Avenue "Headless Passenger", "Wife and Death Situation", "Last Stop". The environment of New York's underground subway is a contrasting picture to what Manhattan's on ground life of indulgence is like. And hardly any issue of loosing the ground could stop the visual sumptuousness that draws attention of a tourist just as much as of a great artist who sees deeper and finds unusual possibilities to use both contrasts of under and above in his art. Then to the concept of the underground could be attributed to works such as: "Souvenirs from Middle East" or "Avenue of Americas & 26th Street," "Scraps for Rats", "Lunch Time" or "Avenue of Americas", "When Flags are Down-2" and others not situated in the Subway environment but having the concept of life's unrefined side that is a visual reference as any form of life is potent and sustains pressure autonomously. The approach to sustaining pressure in the works from the series is extraordinary and would qualify Jaisini to be called an Englishmen by the level of eccentricity. Though in most European countries when approached Paul would be addressed by that country's native language taken for the fellow countrymen be it in Italy, Austria, Holland or France. On the Manhattan ground people gathered at the Armory to post the pictures of their loved ones and the live reports were undertaken by media from around the world. In the picture called "Lost Loved One" Paul Jaisini refuses to adopt the morbid breath of death that was too real and too close. The picture's plane shows an ongoing reportage that without doubts deals with the tragedy of lost life and the family in distress refusing to loose hope when there could be no hope left. All participants of the scene in the "Lost loved one" look down to the ground possibly in a moment of silence or just a break in TV reporting the latest data on the missing people. Life goes on even through destruction and devastation. There is a hundred dollar bill in the meet point of people's stares. The lost loved one (a hundred dollar bill?) assumes a role of mockery and social satire. That must be a philosophical comment on human nature. Or such unusual decision was discovered being able to reduce the gloomy truth that no longer human race for prosperity holds the same significance as it was before many realized that life is not measured by money while to some less fortunate nations it still is and the act of terror would be nothing but exchange of service for money and possible improvement of the financial situation for the deprived kin. Best art like this is able to deliver the sixth sense of reality. And in each next work of the series Jaisini brings out puzzles to be solved and enjoyed even in the milieu of ceaseless sorrow for vanished tranquility. His works bring joy, stimulates positivism, overcomes apocalyptic tone quickly supported by ill-wishers, and inspires new development of the subject, life in New York City that is busy and based on the same principles it always was. The gap of melancholic emptiness was never an incentive to dwell upon for too long.

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