Show Time

Oil on LinenW x H (“) 46 x 37 Signed Early Period

Just as in “Red Dogs” so in “Show Time” the attribution is to the artist’s own concept on his role among people’s crowd. He positioned himself in the center of composition as a man suffering convulsions fit on a city street.

Here Jaisini depicts an idea that artist is not a public figure. He is naked and vulnerable. “Show Time” encompasses the new vision of redemptive suffering of the artist. The crowd consists of a plain man who is laughing and holds his large belly. A noble woman that wears an ancient costume is reaching out to the laughing neighbor from a barbarian joy.

Next is a figure of Death in disguise of a coat and a dark hat covering the skull. The coat seems to cover void. There is another different image of a simple old woman who bows in sorrow for the suffering man.

The combination of characters is diverse but could look quite acceptable in contemporary city environment where the next image would hardly surprise passer by. An ancient heretic-hunter is ready to clear the earth from the sick.

The choice of characters and interaction between them quickly organize fixed painting in “live” performance.

At the front ground there is a satirically funny Lucifer’s head that enjoys the view of torture and the crowd that dishonors the humanity.

All the rest to the right side from Lucifer are some people who watch the accident. The cracked gold watch signifies the loss.

This picture could tell us how close the artist came to self-destruction.

“Show Time” interprets a kind of torture the artist takes in order to create.

Jaisini mentioned once that it is a great pain to see the ideal painting in his mind but not yet being able to recreate it. There is no ease or comfort for those who search for the unfamiliar universe trying to discover things that have not yet been seen. Jaisini is a scholar of unknown dimension. He puts himself in that dimension by overcoming human nature, elevating the limit of endurance to a critical point.

Since the early age Jaisini had started an ongoing competition with death, unaware ordering his life by a philosophical command to live dangerously.

At the age of seven he discovered death in a bad bike accident and a chain of other events for years to come. Just as early his art vision began when he was only five noticed by local artists as unusually gifted child able to draw complex composition inappropriate for his age. Paul had a constant need to draw, if not on paper then in air.

The elaborated and memorized composition would be transferred later on paper. This habit to draw in air was a starting point of Paul’s ability to choose the essential and ways of expressing it. The unique kind of trained factual memory explains ability of Jaisini to hold full command over artistic articulation and ability to use his memory as the only source of image making. As a child Paul lived his life on a constant verge of resistance.

He wished to be independent and want not to be guided. On psychological level that could have drive him to withdraw in arts. On spiritual level he mentioned that he believed and almost sensed that a female guardian angel protected him or otherwise he would not survive.

In “Show Time” there is an allegorical entertainer of public.

God himself used parables to provide a way into the world of parallel universes, the physical and the spiritual each necessary, each informing and gracing the other.

Jaisini portrays himself in a way that can evoke pity and fear in the same time.

ST