Blue Zone (I Love LA)
By Yustas Kotz-Gottlieb:
Jaisini starts his work from a captivating subject and consciously explores his Gleitzeit style, focusing on the composition of entangled and enclosed line. As a result of this double approach the subject of an artistic elaboration takes the most unexpected outcomes and viewpoints. The images can look like an outcome of the deliberate choice, a product of the artistic revision. But could it be just as well a happy accident?
Blue Zone is an early period of Jaisini, where the graphical and color denotation systems are used to flatten the picture's surface. The principle of a dark line over a deep-colored ground looks less natural than a dark line on a light ground. The topographical line of Blue Zone, which depicts Los Angeles, has a full aesthetic balance by refusing an illusional depth, by highlighting the two-dimensional sapphire surface of the painting. The saturation of the color on the surface has a memorable effect of a cold shadow. This can abstractly signify an isolated, hermetic zone of a postindustrial society. The composition of full linear connection may as well represent the idea of postmodern closure of horizons, a world without an appropriate past or imaginable future but interminable recurrent present.
Even though many personages of Blue Zone have their own color embodiment the saturation of the blue in the background creates an atmospheric effect and unites all the images by a cold short-wave cobalt light. No wonder that all of the elements seem to be smaller and further than the actual flat environment of the surface.
In Blue Zone, Jaisini introduces an abstract element of connected line that unites and submits all of the images, planes, and details to this external force of the secluded line. The work shifts from the representational to abstract as a sort of a separate Einsteinium theory. Los Angeles has often been referred as a postmodern city. It lacks a center, having a disintegrating downtown area. It is a city of movement, something that is perfectly symbolized by a parallelogramic topographic linear map of Blue Zone painting. This picture represents the Angelinos who are quite at home in the ordered game of the line. The Blue Zone residents are surrounded by bare walls of spiritless modern architecture.
The Blue Zone's residents among others are: an oriental karate-man; a bald "Babbit" with his "rabbit-heart" is being hypnotized be a cobra; a sitting mature black man; a white-trashy looking prostitute; a Latin profile hidden in spatial juxtaposition; a large profile of an old weeping woman with a fish in her toothless mouth and others.
The city of Los-Angeles can't be reduced to a single principle: not to the motor car nor to the freeways, not the city's lack of hystory nor the dream factory and Hollywood, nor the beach, not the smog, not the sun.
Wrapped around all these principles is the line of intersection of interdependencies which have developed its own rules with its own claim to represent the essence of postmodern city life. Blue Zone exemplifies the whole line of social dysfunction of environment which is filled with graffiti, vandalism, sexual trade and assault, eroticism, family breakdown, and crime.
But still Blue Zone has the tranquillity of its glowing color which encompasses hope even in the critical perspective of Jaisini's work.
It can be concluded that in a single space of this picture the several artistic sites and attitudes are adjoined which are in themselves incompatible: the movement and the philosophy of decay; the asymmetrical trajectory of the 'postmodern' build environment and the infinitely beautiful, unchanged blue depth. The fight of abstraction vs. representation. All of which together denote the strategic double think and multipatterns of our current life.
by Yustas Kotz-Gottlieb New York, 1999
