1) The large 9, 1, 1 numbers are inserted and incorporated in the paintings’ surface
The left part of the triptych is No 9
painting unites the number with a mob of demons who were brought together by a woodoo integration of the number with images visually.
flame (9), water (1 with water), and fall (1 with Icarus)
The three parts of the “911” triptych are to be read as a unity from left to right.
“9” part exhibits a dance of spells when dark powers unfold the disaster. 
This left part of triptych with “9” reminds an arched gateway to Hell
8) t
he head devil situated diagonally from the top left corner towards the right foreground. This image is actually a large wooden mask with a huge white fang. A blue razor blade pierces its nose. The demon’s eyes are rolled in from his exaltation of the weightless, ritual dance.
9) I
n the center of “9,” there is a nude female demon with red, absent eyes and bulging tongue,. 
 The color of “9” is not of an infernal pit, but instead is a heated color of the African sun that liquefies air.
“1” with water shows “Flying Holland,” a phantom-ship. 
The ocean depths hold the remains of the shipwreck.  Skulls and treasures
Jaisini uses the personages of Icarus who is a traditional image of an inventor.
Icarus is shown in the triptych separately from the treasure of the middle part (1 with water)
Icarus looks at the destination of his fall with a weak, last hope

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