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    "Pinocchio (Oil Painting by Jaisini):  A Review" by Yustas Kotz-Gottlieb

  ----- GwD:  The American Dream with a Twist -- of Lime ***** Issue #76 -----
            ----- release date:  05-25-00 ***** ISSN 1523-1585 -----

[This can also be found on several web sites.  Unfortunately, as of this
release, there is not a URL for the reviewed painting.  Performing a web search
for the artist will (hopefully) soon yield a URL for the painting.]

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 a
variety of interpretations, though a presence of a 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 simple message of the ever-present antagonist to the
corruption of human nature. The pictorial language of the artist is based on his
search for 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 type illustration of the body's prevalence over spirit.  Jaisini does
not show tormenting, but a more contemporary kind of punishment as the birth of
a black child with a knife. His white mother is covered with a cum-stained
tablecloth. 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 the
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 the surrounding world with its
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
to contemporary life with it's complexity.  No court of law has yet defined the
art guilty of such reflection of unwanted truth, mimicking the facts of the
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
an 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, and Meat Grinder have some
post-traumatic content of the world in a process of losing emotional content
with its murderous rage and maniacal 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 that the
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 some portions of the bodies, Jaisini lends an erotic dimension to the
somber, grisaille color of the painting. The effect of sobriety, the controlled
orgy, not as 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 possess the time-honored privilege to be other than 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; it can change and transform.

The artist gets his impetus and irrepressible energy to create in a 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, pluralising
single notions of true culture, true reason, true art.

-Yustas Kotz-Gottlieb

Writings:

 Talk Show - Marble Lady - Hot Dog Party - Pinocchio - Drunken Santa Manifesto

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 "A great many people think they are thinking when they are merely rearranging
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MORE THAN FIVE YEARS of ABSOLUTE CRAP!                         /---------------\
copyright (c) 2000 Yustas Kotz-Gottlieb                        :BRING THE NOIZE:
textfile copyright (c) MM GwD Publications/GwD, Inc.           :      GwD      :
All rights reserved - reprinted by permission of the author    \---------------/
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