Blue Reincarnation Narcissus painting by Jaisini

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posted by/geschrieben von yustas on/am Oktober 27, 19100 at/um 07:24:21:

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 reminiscencent 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 1999, Text Copyright: Yustas Kotz-Gottlieb
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