Male Hero 2

In a picture from Reincarnation series (Reincarnation Series Reincarnation Oil on Linen Signed) a masculine man holds an antelope that seems to attempt escaping from the embrace of the male who has a head of an ape.

The ever-present image of a secondary feeble man is close by in connection to the scene watching it or in some way participating.

In Reincarnation with a woman-shark (Reincarnation-3 Same title Series Oil on Linen Signed) a male figure is in a center holding up the reincarnated woman. The man’s body is physically fit.

A reclining male in the lower right side is also muscular but younger, with long blond hair. His position, youthfulness, and attractiveness create additional meaning of compliance to the one who is stronger and older.

In another work from Reincarnation series with Pinocchio (Reincarnation-2 R. Series Oil on Linen Singed) a sinewy hand holds decreased in size legs of a woman whose upper body part is not shown in tone but suggested by an outline while her lower body is lightly fleshy. Another almost unseen female is sitting on the hand.

In the center a macular body of a dark color spreads upward that seems to be a black woman.

Some haughty unshaven profile is closing eyes and pouts his lips in a grimace to what could be an aura and smell of naked bodies that surround and connect to each other.

Meanwhile Pinocchio is a curious and appetent voyeur whose nose is directed to the center.

The line curve that taps the long nose has almost palpable sensuality being nothing but a graphical line in the context of the work that changes value of line into new dominion.

In a work called Sinphony that gives name to Jaisini’s series of works another male image is a conductor postured as perhaps a ballet dancer with obvious reduction of maleness and in context of the picture having awakening of an inner spirit that has no gender definition.

In First the male characters are of a non-masculine artist in a hat in linear portrayal that avoids any tonal value. Another is a city dweller that holds a rat by the end of the tail being a petit man with typical appearance full of a small time trader. Next male image is a kind of smart, sharp profile of quick-witted criminal attorney.

There is also an unshaven profile with cocked nose possibly of a redneck.

A drunkard’s blue nose indicates a presence of yet another male personage.

In each picture there is a male image or images as unique part of the conveyed composition.

In Wet Dream we find few male images and silhouettes.

An almost undefined profile in the center of a powerless character that could be an overwhelmed witness of the surrounding whirlpool of female flesh.

A second image is of an opinionated but also feeble man.

In another work titled Das Ich Und das Es a man brandishes knife and holds down a head of another who in turn interacts with a reclining woman or maybe just looking down at his feet.

The mood of the picture creates self-destructing overtone that could be attributed to the inclusion of bright red color strongly connecting to the shape of a sharp blade and to a proud-looking silhouette of an amazon woman. She could be in fact a true possessor of the knife and the gesture could be interpreted as her strong grip over the weapon in immediate urge to cut the exposed man’s throat.

In the picture’s left side the image of a bull could portray a massive devil with masculine built.

Another mode of male portrayal is through a clown, an inmate in Circus series (Circus-4 W x H (“) 36 x 36 Oil on Linen Circus Series Signed).

Circus-4 seems to ask a question of the difference between representation and reality. On which side there are the heroes of this performance. Does the work portray the inner or the outer? There is a perpetual detour on the way to truth that has lost status of any finality.

A cowboy shadow in Blue and Mauve (Blue and Mauve W x H (“) 30 x 40 Signed Oil on Canvas);

A king in Royal Flesh (Royal Flesh W x H (“) 36 x 36 Signed Oil on Linen) and in Under the Moon (Under the Moon W x H (“) 35 x 35 Oil on Linen Singed);

Tsar in Great Bastard (Great Bastard W x H (“) 48 x 48 Oil on Canvas Singed);

Dwarfs in Pick-nick at a Sideway and in Crystal Man

(Crystal Man Early Period W x H (“) 48 x 50 Oil on Linen Signed dated 1994)

The whole artistic endeavor builds a new image of male as not a traditional hero with excessive pride that started in legends as male hero’s pride towards, or defiance of the gods.

The male image was a prototype of the God himself and at the same time a vulnerable example of pride and its doom.

In the works of Jaisini the male image doesn’t possess the role of physical superiority but also not a protagonist in relation to woman.

Jaisini shows the indefinable transformation where female body could be masculine and otherwise.

The non-masculine man is not anti-masculine, or feminized.

The breed can’t be artificially chosen by humans, they couldn’t be feminine or masculine by their own choice, this happens due to natural evolution.

In Show Must Go On a main male image is rushing forward in what seems to be a deliberately provocative indication of an intercourse in a bizarre set up. But the figure of the aggressor is also vulnerable in the depiction of attack by a sward fish. If the animal predator is a true portrayal of maleness then the central man who is meant to render a singer is not a masculine type even being athletically built and seemingly aggressive. The image is going through immediate transformation that is amazing in creating a new type of an androgen. The recent incarnation of the androgen in popular culture carry strong sexual charge.

The singer couldn’t be separated from his sexual nature and Jaisini represents him as one who tries and attempts to be dominating power, but not as much in physical context as by principle of creativity, improvisation and composition.

In popular music rock stars have all in their various ways flirted with the idea of androgen. Sometimes this was simply a matter of costume while making it the subjects of their own ironic commentary.

In SMGO the image of male would be rough if in the compositional relations there was no threat from a true predator.

The exposed position of injury invites compassion as an image of an androgyne seem less threatening to young and weaker same as effect achieved by rock musicians seeking appeal among diverse public.

The expression of such sexual ambivalence establishes a fascinating game, is he or isn’t he? In a period of conflicting sexual identity Jaisini often shrewdly exploits the confusion surrounding male and female roles to create ambiguity of visual image.

The singer is portrayed as an “unearthly" being.

“These singers often took heroic masculine roles in the operas of Hendel and his contemporaries, and were rewarded with the adoration of both men and women. The range, power, and flexibility of their voices seemed both to quash the accusation of effeminacy and at the same time set them a little apart from the human sphere. Unearthliness seems to be the quality, which separates the genuine androgyne, at least in our imaginations, from the merely effeminate male. Because of this the androgyne is powerful, alluring and sometimes, though not always, as threatening as the exaggeratedly muscular hero whose antonym he forms."

Gleitzeit essays circa 1994 Author Yustas K Gottlieb AKA Ellen Yustas K Gottlieb

Annons

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June 2015