neoproantipost
Homage-to-Jaisini-GIG-NY-2015
Lunch Time (c) Gleitzeit Essays Circa 1995 By Yustas K Gottlieb New York City
The creation of meaning.
There might be elements found in the painting that are purely spontaneous without meaning, elements that attract attention because they don’t belong to context.
While those elements seem to be an excess of the artistic imagination, they create possibilities for the painting to metamorphose.
In the course of creation these elements, which I might call complimentary and closest to the artist’s personal nature, become more meaningful.
The presence of those elements indicate something more interesting then artistic causality.
The passage from one condition to another is the strength of Jaisini’s images.
Main elements are never really main.
In Lunch Time composition center is figure of a man with uplifted chin.
This nude figure is accentuated by emphasis of lighting that forwards man’s right shoulder and haunch.
The color of the lighted body is most natural color of flesh.
The flowing movement establishes current for the many images existing in a complex composition vortex.
The central figure holds composition unity of high intensity and endless dissection of space.
The central figure is in a way overpowered by surrounding figures and might loose its gravity at that point when painting is observed in total.
Other many figures and elements draw attention and keep it actively engaged.
The work possesses many sets of meanings.
They could lead to the title of the work, Lunch Time.
The way to the title is not an easy one.
Pictures elements and images in direct view are almost irreconcilable with given idea’s hint.
The whole composition could be understood as an artistic indulgence of artificiality and fantasy.
The interpretations, the enjoyment might be produced by the encoded inter textual connotations, the puzzle link between images and the title.
The stylistic logic in Lunch Time or other mysterious works of Jaisini are devoid of artistic sequential logic.
However the established intrinsic evolution of logic is relevant to the picture’s content.
As in theatrical play when strength of artistic expression creates significance in episode and improvisational frivolities of acting.
And potentially subversive, nonsensical instruments establish additional emphasis to structural logic.
The connection exists in several different layers in art of Jaisini.
In enclosure of line, in emergence of images, in tonal balance, in color interplay thus his paintings are never monotonous, never stop capturing imagination and desire to understand the principle of creation.
Structure of Style’s Elements to Create Formal Meaning Coherence
Art of Jaisini has self-reflexive quality with a tendency to point at its materiality, picturesque surface as an essence of painting medium that aims to bring out new ways of seeing through appealing manner, calling attention to the visual means by complex mechanism of inspiration and idea inception.
In the art of Jaisini the configuration of complex meanings does not result in spatial coherence.
The style exists outside each work’s idea.
The style is not repetitive, but nevertheless perceptible.
Each work is complex and different, but the magic of the artist is even greater in creating his signature style in the diverse array of paintings.
It creates richness and fullness in each work alone, but then the absolute profuseness of entire endeavor.
When I affix photographs on a white wall near by my working station and look at those pictures while writing I’m entrapped in the permanent emotion of elation, in non-stop euphoria of confronting and describing these art works.
I am able to catch a view of something truly inexpressible, the phenomenon of human capabilities.
10 photographs (reproduction of paintings) represent a part of larger number of works, which Jaisini created in his early period during 90-s decade.
But looking at each work I would think that it might take a decade to execute just one such a work.
Studying Jaisini’s paintings I know that each carries a very curious message besides being enough interesting in plain observation without any meaning deconstruction.
Meaning should be understood to be complimentary to the visual image.
While Jaisini sets up the conceptual game to compliment the style he created a painting that can stay for independent fable, the fact of its existence, the fact that it was possible to create such a complex beauty in brief execution time.
This is an effort of a man overstepping his human capacity.
I’d like to underline the idea that the art work like these of Jaisini would stay through the test of time and subsist in time when people will learn to process complex visuals as a norm.
Dissecting these paintings by color I was baffled to find out that each painting contains myriad of color and tone combination in one space.
Jaisini is burdened to create something he will not dislike the next day. This might explain relentless effort, spontaneous splendor, absence of one dead spot in the painting, and one dry, lost part.
The work either brilliant or none and extremity of human effort offered by Jaisini is a gift estimated in time of conscious growth and common progress of human mental capacity.
I think that traditional category of painting id not suitable for art like this being new in a complex approach with equally ingenious technique.
A new word should be invented to describe such a painting, for example a science of paintography?
Jaisini uses ingredients of existing physiological constructs: man and woman, man and women, reincarnation of man in animal, man turning into woman, man as puppet or mythical god, hermaphrodite, ancient androgen but in a new role, man-creator, man transgressor, thinker and eternal toiler, man dreamer and more.
These constructs contain infinite potential to create visual combinations, interesting pairings, metaphors, which later disseminate the coherence on a formal level.
Jaisini is interested to create readable meaning for the purpose of involving viewers into processing of art.
Generality of his art is a style with fluidity, connectives of line and parallel development of another line from dimension of thought.
He unites particular elements into encircled interaction.
He also creates subjectivity by producing fragmentation of space and endowing it abstract quality.
In the overall view images become one immediate flow of line containing color, tonal spots and texture.
Thus the art of Jaisini has many discursive lines of coherence: a suggestion to follow the enclosure of the line, the contextual puzzle, the textural richness, the endless cutting of the space that demonstrates an abstract nature of style.
The whole intent of the style is to show that potential of art reached through a personal effort continues to push forward when the creator is qualified for the job.
The double/triple potentiality of the concept is a defining feature of a new art that Jaisini’s paintings represent in art based on coherence of concept imposed form outside and, to a certain point, detach from the fable’s content and elaboration.
Postmodern art favors to test some art that might happen in future. Some artists return to mastery that could unite conceptual and technical, visual and abstract, mysterious and simple, self-sufficient and vital.
Those expectations are all realized by P. Jaisini a capable painter who brings many new principles to the old canvas format. He disperses new externality with various incentives.
Returning to the subject of naming new style it seems that Jaisini is more a scenarist then a painter.
Art history demonstrates that analysis of painting was based on one side fruitful for philosophical elaboration, be it an abstract or representational style.
Latest period in art, postmodern, evolved painting into installation art, digital art and other directions with not that much of revolutionary improvements in respect to continuation of tradition to focus on one artistic side but with new visual tools.
The same human heads are seen in the monitors and screens, same movements as it was performed for centuries on stages, same sound effects.
New technology multiplies old scenery.
Only the complexity of principles could produce not a test but a totally new creation when plurality unites instead of endlessly repeating same old themes even if electronically.
What is special about art of Jaisini is that in the painting there is a scenario of a whole play or a movie.
That could be a realization of contemporary man’s vision when two-dimensional surface is transformed in theatrical performance by just one attempt of immediate session of painting.
Homage-to-Jaisini-GIG-NY-2015
Lunch Time (c) Gleitzeit Essays Circa 1995 By Yustas K Gottlieb New York City
The creation of meaning.
There might be elements found in the painting that are purely spontaneous without meaning, elements that attract attention because they don’t belong to context.
While those elements seem to be an excess of the artistic imagination, they create possibilities for the painting to metamorphose.
In the course of creation these elements, which I might call complimentary and closest to the artist’s personal nature, become more meaningful.
The presence of those elements indicate something more interesting then artistic causality.
The passage from one condition to another is the strength of Jaisini’s images.
Main elements are never really main.
In Lunch Time composition center is figure of a man with uplifted chin.
This nude figure is accentuated by emphasis of lighting that forwards man’s right shoulder and haunch.
The color of the lighted body is most natural color of flesh.
The flowing movement establishes current for the many images existing in a complex composition vortex.
The central figure holds composition unity of high intensity and endless dissection of space.
The central figure is in a way overpowered by surrounding figures and might loose its gravity at that point when painting is observed in total.
Other many figures and elements draw attention and keep it actively engaged.
The work possesses many sets of meanings.
They could lead to the title of the work, Lunch Time.
The way to the title is not an easy one.
Pictures elements and images in direct view are almost irreconcilable with given idea’s hint.
The whole composition could be understood as an artistic indulgence of artificiality and fantasy.
The interpretations, the enjoyment might be produced by the encoded inter textual connotations, the puzzle link between images and the title.
The stylistic logic in Lunch Time or other mysterious works of Jaisini are devoid of artistic sequential logic.
However the established intrinsic evolution of logic is relevant to the picture’s content.
As in theatrical play when strength of artistic expression creates significance in episode and improvisational frivolities of acting.
And potentially subversive, nonsensical instruments establish additional emphasis to structural logic.
The connection exists in several different layers in art of Jaisini.
In enclosure of line, in emergence of images, in tonal balance, in color interplay thus his paintings are never monotonous, never stop capturing imagination and desire to understand the principle of creation.
Structure of Style’s Elements to Create Formal Meaning Coherence
Art of Jaisini has self-reflexive quality with a tendency to point at its materiality, picturesque surface as an essence of painting medium that aims to bring out new ways of seeing through appealing manner, calling attention to the visual means by complex mechanism of inspiration and idea inception.
In the art of Jaisini the configuration of complex meanings does not result in spatial coherence.
The style exists outside each work’s idea.
The style is not repetitive, but nevertheless perceptible.
Each work is complex and different, but the magic of the artist is even greater in creating his signature style in the diverse array of paintings.
It creates richness and fullness in each work alone, but then the absolute profuseness of entire endeavor.
When I affix photographs on a white wall near by my working station and look at those pictures while writing I’m entrapped in the permanent emotion of elation, in non-stop euphoria of confronting and describing these art works.
I am able to catch a view of something truly inexpressible, the phenomenon of human capabilities.
10 photographs (reproduction of paintings) represent a part of larger number of works, which Jaisini created in his early period during 90-s decade.
But looking at each work I would think that it might take a decade to execute just one such a work.
Studying Jaisini’s paintings I know that each carries a very curious message besides being enough interesting in plain observation without any meaning deconstruction.
Meaning should be understood to be complimentary to the visual image.
While Jaisini sets up the conceptual game to compliment the style he created a painting that can stay for independent fable, the fact of its existence, the fact that it was possible to create such a complex beauty in brief execution time.
This is an effort of a man overstepping his human capacity.
I’d like to underline the idea that the art work like these of Jaisini would stay through the test of time and subsist in time when people will learn to process complex visuals as a norm.
Dissecting these paintings by color I was baffled to find out that each painting contains myriad of color and tone combination in one space.
Jaisini is burdened to create something he will not dislike the next day. This might explain relentless effort, spontaneous splendor, absence of one dead spot in the painting, and one dry, lost part.
The work either brilliant or none and extremity of human effort offered by Jaisini is a gift estimated in time of conscious growth and common progress of human mental capacity.
I think that traditional category of painting id not suitable for art like this being new in a complex approach with equally ingenious technique.
A new word should be invented to describe such a painting, for example a science of paintography?
Jaisini uses ingredients of existing physiological constructs: man and woman, man and women, reincarnation of man in animal, man turning into woman, man as puppet or mythical god, hermaphrodite, ancient androgen but in a new role, man-creator, man transgressor, thinker and eternal toiler, man dreamer and more.
These constructs contain infinite potential to create visual combinations, interesting pairings, metaphors, which later disseminate the coherence on a formal level.
Jaisini is interested to create readable meaning for the purpose of involving viewers into processing of art.
Generality of his art is a style with fluidity, connectives of line and parallel development of another line from dimension of thought.
He unites particular elements into encircled interaction.
He also creates subjectivity by producing fragmentation of space and endowing it abstract quality.
In the overall view images become one immediate flow of line containing color, tonal spots and texture.
Thus the art of Jaisini has many discursive lines of coherence: a suggestion to follow the enclosure of the line, the contextual puzzle, the textural richness, the endless cutting of the space that demonstrates an abstract nature of style.
The whole intent of the style is to show that potential of art reached through a personal effort continues to push forward when the creator is qualified for the job.
The double/triple potentiality of the concept is a defining feature of a new art that Jaisini’s paintings represent in art based on coherence of concept imposed form outside and, to a certain point, detach from the fable’s content and elaboration.
Postmodern art favors to test some art that might happen in future. Some artists return to mastery that could unite conceptual and technical, visual and abstract, mysterious and simple, self-sufficient and vital.
Those expectations are all realized by P. Jaisini a capable painter who brings many new principles to the old canvas format. He disperses new externality with various incentives.
Returning to the subject of naming new style it seems that Jaisini is more a scenarist then a painter.
Art history demonstrates that analysis of painting was based on one side fruitful for philosophical elaboration, be it an abstract or representational style.
Latest period in art, postmodern, evolved painting into installation art, digital art and other directions with not that much of revolutionary improvements in respect to continuation of tradition to focus on one artistic side but with new visual tools.
The same human heads are seen in the monitors and screens, same movements as it was performed for centuries on stages, same sound effects.
New technology multiplies old scenery.
Only the complexity of principles could produce not a test but a totally new creation when plurality unites instead of endlessly repeating same old themes even if electronically.
What is special about art of Jaisini is that in the painting there is a scenario of a whole play or a movie.
That could be a realization of contemporary man’s vision when two-dimensional surface is transformed in theatrical performance by just one attempt of immediate session of painting.