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I don't know why, but I keep receiving this kind of art reviews from
a guy I've never met. It's really surreal to read art reviews of some
art pieces you've never seen... Try out...
>From: [EMAIL PROTECTED]
>Date: Wed, 11 Oct 2000 20:00:30 EDT
>Subject: art
>To: [EMAIL PROTECTED]
>Status:
>
>Marble Lady painting by Jaisini
>In his art, Jaisini insists on overcoming of the dehumanization, the
>suppression of sensuality. In every historical period there are ideas and
>problems which are expressed and will not come to pass. Jaisini seeks to
>identify this idea in the present, excavate it from the past, and invent it
>in a new way for the future. In the murky, anxious world of ours, in the
>midst of the soul's confusions and the multiplying moral losses, the artist
>seeks and always finds some big and small islands of "eternal truths," and
>asserts the indestructible age-long parables that reveal these truths in the
>new light, in his own system of sign-images. I realized that the more you
>look at "Gleitzeit" works and think, the more you see, feel, and understand,
>but never completely, as given work always has too many aspects. There is
>always some kind of "space" in the painting, on which the observer feels
>free, without a persistent prompting of the artist, to use his own system of
>perception. To me, "Marble Lady" seems as a late modern modification of the
>Greek myth of the sculptor Pygmalion, who used his illusionist skill to
>satisfy a private fantasy of the ideal woman. Disappointed by the
>imperfections of the opposite sex, he created Galatea out of marble and
>during a festival in honor of venus, Pygmalion prayed for a woman as perfect
>as his statue. Venus answered his prayer by bringing his statue to life and
>eliminated the boundary between reality and illusion. In Jaisini's "Marble
>Lady," the object of the intense desire remains alluring, yet perpetually
>distant. Desire of the others is often imagined in terms of a fetish. The
>so-called civilized man can be considered in his delight of female form.
>In "Marble Lady," we find the two types of spectatorship: the masculine and
>the non-masculine. Therefore, an image of the woman is defined through the
>desire of both spectators, the unmanly poet and the savage who may well be a
>subscriber to "Penis Power Quarterly." The statue of Galatea was and still is
>the symbol of fictional perfection, a result of the search for ideal woman
>that parallels the artist's own creative urge. A post-feminist culture has
>found out a way to reinvent the woman as she once was: eager to appear The
>"Marble Lady" enables male domination by being unreachable and desirable. The
>construction of such a female identity fiction can inspire both high and low
>natures. In all of his works, Jaisini unites the high and low principles,
>integrating art into the material life, breaking out of art's ivory tower.
>"Marble Lady" is a compact, pyramidal composition of the "trio." As in all of
>his works, Jaisini subdues the figures to the articulation of line and its
>rhythmic connection between forms in space, a sort of analytical process,
>based on the line swinging which starts up ideas, shapes, and colors. The
>line arabesques are these highly individual textures of Jaisini's art. A
>decorative role of the painting's color is to create the temperature contrast
>of the heated environment with the marble-cold statue.
>In modern and postmodern times, there are increasingly fewer outlets for
>sensual urges and desires which lay at the origin of human society that
>imposes restrictions. Sexuality remained beyond the scope of most art
>history. Interaction between male and female is still responsible for the
>continued functioning of the universe.
>by Yustas Kotz-Gottlieb [EMAIL PROTECTED]
>
>Thank you for reading
>
>Marble Lady (Oil painting) by Paul Jaisini, New York 2000
>Text Copyright: Yustas Kotz-Gottlieb
>ALL RIGHTS RESERVED
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