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.
In art history it’s known 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 flexi reality may be able to reflex more truthfully
contemporary life with its 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
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 liar Pinocchio introduces the ruler.
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 tablecloth 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 plastic linear flow and images’ integration in
Jaisini’s work sketch out a new cosmology with the emotions, senses and
thoughts 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, challenging
destabilizing, revitalizing, pluralizing single notions of true culture, true
stormborns
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