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Blue Reincarnation Narcissus painting by Jaisini
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 ultra hot, 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 fireball. The disturbance of colors creates
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 fates 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
reminiscent of an underwater lack of air; the symbolism of this picture's texture and
color contributes to the mirage of reincarnation.
By Yustas Kotz-Gottlieb New York 2003, Text Copyright: Yustas Kotz-Gottlieb ALL
RIGHTS RESERVED Send private comments to author Gttlieb@aol.com
The Art of Paul Jaisini by Yustas Kotz-Gottlieb http://jaisini.artbabyart.net/
y k-g
y k-g
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Carpal Tunnel
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Carpal Tunnel
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Carpal Tunnel
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Carpal Tunnel
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... und?
If you make all the as green and all the ds red, you get a picture of Narcissus and his sister in an interesting pose.
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Carpal Tunnel
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Carpal Tunnel
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Blue Reincarnation Narcissus painting by Jaisini
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 ultra hot, 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 fireball. The disturbance of colors creates
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 fates 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
reminiscent of an underwater lack of air; the symbolism of this picture's texture and
color contributes to the mirage of reincarnation.
By Yustas Kotz-Gottlieb New York 2003, Text Copyright: Yustas Kotz-Gottlieb ALL
RIGHTS RESERVED Send private comments to author Gttlieb@aol.com
The Art of Paul Jaisini by Yustas Kotz-Gottlieb http://jaisini.artbabyart.net/
y k-g
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Carpal Tunnel
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glitzy, connie! 
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Carpal Tunnel
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You might. All I can see is random letters in different colours. I can't see a picture at all.
Bingley
Bingley
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Carpal Tunnel
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Carpal Tunnel
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Squint your eyes and also imagine half the image as a reflection in a pool or a mirror. 
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Carpal Tunnel
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a reflection in a pool or a mirror
It's really got to be a pool, since the reflection is distorted by the ripples on the water.
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Carpal Tunnel
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For me, the piece reflects the narcissistic 90s ushering in the fin-de-siecle Zeitgeist, a sort of Y2K of the soul, if you will. Indeed, it runs the gamut of emotions from A to D.
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Carpal Tunnel
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ASp, I feel that you have captured the essential, mechanistic gesellschaft of the piece, but have entirely missed the gemeinschaft--although I could be reading more into it than is warranted; well, I'm not about to give it a second look, so we'll just have to agree that the gestalt is not derivable from a sum of its A/D conversion.
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