Those whom forgotten from gods
A reading in easmanns painting

By: Faaiz Y. Alhamdani /Iraq

Since the early renascence, figurative painting never witness such cold act, as seen in jan figures. we can except peter brugel in (ship of fools) but the figures of brugel are drawn in their indifferent foolish act, while jan figures who are waiting on edge of existence, in a comma of feeling that they are devoted to some kind of role that has been written by gods. They are waiting some of anonymous fate. The sedateness of the gestures and hardness of their expressions reflects their faith in that role they act like chess soldiers waiting the gods hand to move them in the suitable time.

         

Jan has created figures has no will or control on their destiny, freezing in their standing positions, absent minded in their hopeless sitting. The figures of jan remind us more or less the mannerism style as they meet in the reflection of despaired human existence.
It seems that easmann in the beginning of 21 century returns again to give an impression that man who knocked the doors of Mars and makes the world as small village, remains the same man of the old ages, the prisoner of the gods appetites. The gods which he created but in turn they plays with his destiny after he lost control on his complicated life style. which confirm this, is the environment and the clothes which maintains the our feeling in the ancient times. Its clear that the man in jan paintings is unable to find a reason to justify his life and return to the point that the man still live the disability to face the life. But the man in jan easmann painting, as it appears, is not concerned about the gods anger, that what makes him differs than the man of ancient ages in addition to the fact that jan figures are not concerned in life it self, which may raise a question is Jans man is believer.
The observer of Jans works is sure of uselessness of this role (which their figures are devoted to) and he doesnt understand the equivoque of this behavior. Besides that, these figures are not only devoted to their disability, but they do bizarre acts as in (four clones worshiping volcano). These bending creatures in a position which remind us the embryo, (the idea of waiting). Or as in case of the ( golden edge), as jan goes more far away with the girl embedded in that corner so peacefully and playing by her stick with some thing that the artist doesnt show in a hint to the uselessness of its act

           

Jan easmann is playing a tricky game with us, which stimulate our consciousness. He is trying to pull our thoughts to the area of the ceremony of his figures and their environments (the meeting), so we end up with the feeling of our disability to understand their reality, as we are trying to make a sense from all of this. By this way we will fall in the artist trap that is dragging us to. Hence we will see our selves from a point of view that we could not dare to look through it to see our selves. He is utilizing our contradiction between our feeling of uselessness of his figures against their seriousness. He uses the open spaces in most of the times to increase this feeling of contradiction.
Its clear that jan easmann is taking us slowly with invisible floss, to realize our infertility and nonsense behavior in front of the life facts as he see and wishes us to see our selves in it.


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