contemporary appropriations of the past

Meat Grinder OIL PAINTING BY PAUL JAISINI GLEITZEIT ESSAYS CIRCA 1995 BY ELLEN YUSTAS K GOTTLIEB
Oil on Linen
W x H (“) 36 x 36 Signed Early Period
The painting reveals an idea of close personal bond between man and his destiny. In times when social science disintegrates when religion is weak and enlightenment didn’t work out man came closer to his fate then ever.
In “Meat Grinder” the man’s position is dramatic as well as symbolic to show the center of composition. The busy space around this personage emphasizes his bond with circumstances and fate.
The relative unfreedom of the man his self-injury is a current condition of disintegration of the self that marks the contemporary situation of ‘closure of horizons without an appropriate past, or imaginable future, in an interminably recurrent present.’
“Meat Grinder” shows the inverse explosion of every man as society had reached its critical mass and begun to implode. The man holds a sword that is optically refracted. We can’t tell for sure that he has cut a part of the dragon’s body we find in the center.
What we might see is a momentum of dreamlike condition of an attempt to act that feels so impossible in a dream.
The almost erotic position of the man counterweights the overall austerity of the painting’s color and message.
The man’s position deprives any view of his head and we only can see his buttocks, testicles, legs, back, and masculine hand that is also optically refracted by color demarcation.
Second image by significance of meaning is the figure of a fool who plays with a fireball. This image of the fool is not carnivalesque in an optimistic way. As in “Crystal Man” painting so is here the role of fool symbolizes dreadful executive power that is even more dangerous by not being too serious and responsible.
The overtone of the Meat Grinder, the concept seems to be a refusal to accept the fatality and violence of human nature. The painting’s somber color of burn sienna is invigorated by cadmium red drapery. The fool’s fireball illuminates images that emerge from the dark cave like environment.
One might start to see more images.
A pelican that widely opens his beak and a crow screaming out with passion might be the images of birds-“politicians” also appearing in “Pinocchio”.
In “Meat Grinder” the profile of Hitler can be recognized located in the upper part as a shadow silhouette. An incorporation of war theme here doesn’t weight down on the past, but is at the origin of penetrating analysis of a man’s present life and destiny in general. The man is shown to be capable of self-mutilation. In the context of the artwork this process is subconscious and Jaisini shows it happening as if in a dream.
The vulnerable human body at the same time possesses destructive power, the conflicting force of life that both creates and destroys.
Jaisini approaches subject of mass destruction and uncontrollable fate of the raged man in the painting that continues disputing about human nature having little concern to illustrate the past but to understand the present, predict the future and contribute to its materialization.