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From: anonymous
To: fusionworldwide@hotmail.com
Subject: Congradulations
Date: Mon, 06 Dec 1999 20:41:52 -0500

I like the site, congradulations. (small technical problems but its OK). Why didn't you put the interview which was in Turkish and English? It was interesting - I think you should reconsider that as a performative text!
See you: Genco

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From: Yustas61@aol.com
To: fusionworldwide@hotmail.com
Subject: Freedom of Thought painting by Jaisini
Date: Mon, 6 Dec 1999 17:52:07 EST

Freedom of Thought painting by Jaisini

The color of this painting is an agent of transformation that makes the prison world illusive.
In the painting "Freedom of thought" Jaisini has built a form of time and space that transforms the world of prison into a dream or a thought if a philosopher, the artist himself, laying on a plank bed of the illusory prison cell.
Freedom of Thought is populated with images of wicked criminals and guards. However, the convicts do not carry ugly or realistic character references but are portrayed with humor and irony. Two crooks are playing cards. One has an Arabic-looking face with a purple nose. His partner's face, in some parts, is a brick packing and his eye is shielded with bars. A brick background is also found at the middle part of the painting that supports the miniature brick structure of the con's face. A rat and an angry dog fight for a rotten fish.
At the upper right corner the weightless hazy scene of rape blends with a flow of the composition where all personages conjoin in the obscure carnival of confinement. Jaisini portrays himself as its participant. His position is, nevertheless. the most calm. He is in a condition of concentrated thinking or in a deep sleep. The jail, as a dream or a thought, becomes unreal and does not exist. The question arises of what reality that is in the artist's thought or dream, or the surrounding whirlpool world of the prison? Is this a work of art, according to Scheider, considered as a kind of "dream turned inside out"? The painting seems to be illusory owing to its amazing color and its references to the old-fashioned lockup system. The state of the artist's dream or thinking could be unreal as well. Then what is the reality in "Freedom of Thought"? Maybe it is the "I," the creative self, which is pure consciousness, the witness of these three states, the motive power to survive, to create, to think. Jaisini's internal psychic flexibility permits him identification with and portrayals of a wide range of characters and themes.
A female guard is peeking at a well-built imprisoned man. The artist shows that the quest for happiness was endless and vain for him until he stopped searching outside for something that he was not able to find in the world of senses and turned inward. "Freedom of Thought" is a work that, in a way, illustrates the turning point of the human life when one often gets back his ability to see the stars from the gates of hell, as Dante writes. "My guide and I came on that hidden tunnel to make our way back into the shining world; and with no time for rest, we climbed - he first, that I - until I saw, through a round aperture, those things of beauty Heaven holds. It was from there, at last, that we emerged to see again the stars."

Freedom of Thought (Oil painting) by Paul Jaisini, New York 1999
Text Copyright;Yustas Kotz-Gottlieb
ALL RIGHTS RESERVED
Send private comments to Yustas61@aol.com

 

From: Yustas61@aol.com
To: fusionworldwide@hotmail.com
Subject: Blue Reincarnation Narcissus, oil painting by Jaisini By Yustas Kotz-Gottlie
Date: Fri, 14 Jan 2000 23:50:27 EST

Blue Reincarnation

Narcissus, oil painting by Jaisini
By Yustas Kotz-Gottlieb:
The theme of Narcissus in Jaisini's "Blue..." may be paralleled with the problem of the two-sexes-in-one, unable to reproduce and, therefore, destined to the Narcissus-like end. Meanwhile, the Narcissus legend lasts. In the myth of Narcissus a youth gazes into the pool. As the story goes, Narcissus came to the spring or the pool and when his form was seen by him in the water, he drowned among the water-nymphs because he desired to make love to his own image. Maybe the new Narcissus, as in "Blue Reincarnation," is destined to survive by simply changing his role from a passive man to an aggressive woman and so on. To this can be added that, eventually, a man creates a woman whom he loves out of himself or a woman creates a man and loves her own image but in the male form. The theme of narcissism recreates the 'lost object of desire.' "Blue" also raises the problem of conflating ideal actual and the issue of the feminine manhood and masculine femininity. There is another story about Narcissus' fall which said that he had a twin sister and they were exactly alike in appearance. Narcissus fell in love with his sister and, when the girl died, would go to the spring finding some relief for his love in imagining that he saw not his own reflection but the likeness of his sister. "Blue" creates a remarkable and complex psychopathology of the lost, the desired, and the imagined. Instead of the self, Narcissus loves and becomes a heterogeneous sublimation of the self. Unlike the Roman paintings of Narcissus which show him alone with his reflection by the pool, the key dynamic in Jaisini's "Blue" is the circulation of the legend that does not end and is reincarnated in transformation when autoeroticism is not permanent and is not single by definition. In "Blue," we risk being lost in the double reflection of a mirror and never being able to define on which side of the mirror Narcissus is. The picture's color is not a true color of spring water. This kind of color is a perception of a deep seated human belief in the concept of eternity, the rich saturated cobalt blue. The ultrahot, hyperreal red color of the figure of Narcissus is not supposed to be balanced in the milieu of the radical blue. Jaisini realizes the harmony in the most exotic color combination. While looking at "Blue," we can recall the spectacular color of night sky deranged by a vision of some fierce fire ball. The disturbance of colors create some powerful and awe-inspiring beauty. In the picture's background, we find the animals' silhouettes which could be a memory reflection or dream fragments. In the story, Narcissus has been hunting - an activity that was itself a figure for sexual desire in antiquity. Captivated by his own beauty, the hunter sheds a radiance that, one presumes, reflects to haunt and foster his desire. The flaming color of the picture's Narcissus alludes to the erotic implications of the story and its unresolved problem of the one who desires himself and is trapped in the erotic delirium. The concept can be applied to an ontological difference between the artist's imitations and their objects. In effect, Jaisini's Narcissus could epitomize artistic aspiration to control levels of reality and imagination, to align the competition of art and life, of image with imaginable prototype. Jaisini's "Blue" is a unique work that adjoins reflection to reality without any instrumentality. "Blue" is a single composition that depicts the reality and its immediate reflection. Jaisini builds the dynamics of desire between Narcissus and his reflection-of-the-opposite by giving him the signs of both sexes,but not for the purpose of creating a hermaphrodite. The case of multiple deceptions in "Blue" seems to be vital to the cycle of desire. Somehow it reminds one of the fate of the artists and their desperate attempts to evoke and invent the nonexistent. "Blue" is a completely alien picture to Jaisini's "Reincarnation" series. The pictures of this series are painted on a plain ground of canvas that produces the effect of free space filled with air. "Blue," to the contrary, is reminiscencent of an underwater lack of air; the symbolism of this picture's texture and color contributes to the mirage of reincarnation.

"Blue Reincarnation" (Oil painting) by Paul Jaisini,
New York 2000, Text Copyright: Yustas Kotz-Gottlieb
ALL RIGHTS RESERVED
Send private comments to author Yustas61@aol.com

 

From: Yustas61@aol.com
To: fusionworldwide@hotmail.com
Subject: Freedom of Thought painting by Jaisini The color of this painting is an age
Date: Mon, 6 Dec 1999 17:52:07 EST

Freedom of Thought painting by Jaisini

The color of this painting is an agent of transformation that makes the prison world illusive. In the painting "Freedom of thought" Jaisini has built a form of time and space that transforms the world of prison into a dream or a thought if a philosopher, the artist himself, laying on a plank bed of the illusory prison cell. Freedom of Thought is populated with images of wicked criminals and guards. However, the convicts do not carry ugly or realistic character references but are portrayed with humor and irony. Two crooks are playing cards. One has an Arabic-looking face with a purple nose. His partner's face, in some parts, is a brick packing and his eye is shielded with bars. A brick background is also found at the middle part of the painting that supports the miniature brick structure of the con's face. A rat and an angry dog fight for a rotten fish. At the upper right corner the weightless hazy scene of rape blends with a flow of the composition where all personages conjoin in the obscure carnival of confinement. Jaisini portrays himself as its participant. His position is, nevertheless. the most calm. He is in a condition of concentrated thinking or in a deep sleep. The jail, as a dream or a thought, becomes unreal and does not exist. The question arises of what reality that is in the artist's thought or dream, or the surrounding whirlpool world of the prison? Is this a work of art, according to Scheider, considered as a kind of "dream turned inside out"? The painting seems to be illusory owing to its amazing color and its references to the old-fashioned lockup system. The state of the artist's dream or thinking could be unreal as well. Then what is the reality in "Freedom of Thought"? Maybe it is the "I," the creative self, which is pure consciousness, the witness of these three states, the motive power to survive, to create, to think. Jaisini's internal psychic flexibility permits him identification with and portrayals of a wide range of characters and themes. A female guard is peeking at a well-built imprisoned man. The artist shows that the quest for happiness was endless and vain for him until he stopped searching outside for something that he was not able to find in the world of senses and turned inward. "Freedom of Thought" is a work that, in a way, illustrates the turning point of the human life when one often gets back his ability to see the stars from the gates of hell, as Dante writes. "My guide and I came on that hidden tunnel to make our way back into the shining world; and with no time for rest, we climbed - he first, that I - until I saw, through a round aperture, those things of beauty Heaven holds. It was from there, at last, that we emerged to see again the stars."

Freedom of Thought (Oil painting) by Paul Jaisini, New York 1999
Text Copyright;Yustas Kotz-Gottlieb

ALL RIGHTS RESERVED
Send private comments to Yustas61@aol.com