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DON’T NEED EYES TO SEE THE PAUL JAISINI’S INVISIBLE PAINTINGS “Final Message” new work this year Paul Jaisini = the future of fine art. But who is he or what is he? These questions have been asked and gone unanswered since 1998. A puzzle within a puzzle, riddle within a riddle, no one has been able to figure it out to this day. So why the secrecy? What’s it all about and why should it matter? Well, simply put— this individual is a prophetic visionary who has put into motion a revolutionary (in my eyes) art movement, and I don’t use the word “revolutionary” lightly here, ladies and gents. From the moment I’d gotten a glimpse, general idea of this new movement, I became obsessed — truly, madly, utterly, hopelessly, delirously (should I go on?) obsessed.. possessed.. haunted. This manifested into a kind of disease within me that eventually creeped into my work, my dreams, and all areas of my life. Sometimes I wish I hadn’t discovered him because carrying the knowledge of his existence and his work is quite burdening… and somewhat depressing because it awakened me to the fact that my art and 99% visual art is waste matter, totally worthless. I love him in theory but I hate him as much. There is no cure for what hes done to my head. Permanent disollution of reality as I know it — tangible, safe, logical…real. Stelly Riesling
art censored: ADULT CONTENT: the artwork of an image with no nudity is censored on www by the software recognition programwww.artlimited.net/image/en/514108
gifartsy.wordpress.com/2015/04/10/gif-collage-manifesto/
Lunch Time
Oil on Linen W x H (“): 60 x 50 Signed Early Period
(1)
The unsolved mysteries of space inspire and concern artists and scientists.
Since space is normally defined as extension in all directions it is more difficult to comprehend element of space in picture frame then, for instance, in sculpture.
In “Lunch Time” Jaisini explores the two dimensional surface of painting, expands the space by spatial compression, creating a sense of constantly changing vision. In LT figures and grounds merge into one another.
Its linear and color structure creates dynamic tension of multiple perspective planes and indefinite expansion. The initial inspiration for the work could have come from the artist’s subconscious mind. Therefore the work is warm, emotional, and expressionistic. At the same time, as in all Jaisini’s art works there is a part of stimulus that comes from idea and grows into pure expression of the artist’s own nature. The composition starts up with figure of a central man. He outstretches the hands and his head is upturned.
The flowing prolonged line of the neck and right hand accents the direction of movement in the entire painting. Behind his hand, at the top left corner, there is a segment of purple inferno.
The picture is created on a contrast of solid grounds of warm color with another dimension of transparent, fluid spaces of cold, watery green.
It seems that the man is at a peak of some inner feeling and his body is washed with warm light. His profile is shadowed. The line of his leg is elongated and gives and expression of movement that starts up the dynamism of the picture altogether. On the right hand side of the “central” man sits a bird with a rainbow wing. She is too in a state of spiritual zenith.
Under the man’s right hand we see a group of three. A bald pregnant woman is bound by an umbilical cord to another pregnant woman. Between their faces shows a heavy chin and reddish nose of a crowned male, who might symbolize dominance.
To the right side of the picture there are more figures. A silhouette of a running man; he grabs a breast of seated female. Her small profile with waves of dark hair is turned to a man who appears to float on air. The sitting woman connects to another woman without facial features whose body seems to exist in order to create a shadow. Between her legs there is a grieving transparent silhouette of watery green color.
It is interesting to notice how the painting’s space expands by means of movements and directions, which slightly differ from one another on fraction of degree. There are no parallel lines, despite the busy linear composition.
More of exotic images emerge correlated by an imposed condition of withdrawal and ecstasy that is almost materialized in the painting.
Continuous movement of figures that flow into one another attains the sense of transition. The picture’s spirit is so infectious that you start to feel a wave of euphoria. Here you are experiencing a “felt” power of art. Lunch Time is a work of art that overcomes limitations and barriers of human mind. It abandons the world of ordinary senses through the closed eyes of its heroes existing vigorously in the picture’s space while light dissolves in their bodies. Dark contrasts and half tones create kaleidoscopic juxtaposition, the light sparks, the colors glow, and the movements flow in all the various directions. Little by little new images show up in exquisite harmony and correlation. I use words to explain images that exist before words in nonverbal communication of optical form, line, color, and texture.
But the painting seems to generate not only descriptive words but also sounds originated in music, nature, human voices, the city streets, and habitats.
(2)
Lunch Time is an apogee of imagination and creativity. The picture is painted in only two sessions each of several hours in two days.
Close examination of the painting verifies this statement as the painting has no underdrawing and is done in a very thin oil layer, almost transparent, with light brushwork.
Thinking about the mystery of creation I imagine the artist who paints Lunch Time and stays in front of an empty canvas knowing that what he wants to paint doesn’t exist but has to be a vision of flawless perfection. He is alone and at this moment nothing exists in the world except his canvas and urge to bring out a vision of his mind. Jaisini never prepares a sketch, never reworks his paintings, and never returns to the ones he painted. His creative moment with one picture could last a few days after he finalized an idea in his mind that is a much longer process. When he paints his next picture he needs a fresh vision, new beginning, new idea.
If he didn’t accomplish the task of matured idea in severe regime of work of short time but concentrated impact, he would never attempt to repeat the same picture. Anyone else would have difficult time trying to put themselves in such conditions of painting in few short sessions a picture of substantial size, compositional complexity, color galore, and graphical contrasts.
In the mind of the artist there is a desire to break through ordinary perception of space, time, and motion. In Jaisini’s mind there must be a desire to create an enclosure of his graphical line supported by puzzle idea of the given picture as a line of logic. The moment of painting’s ideation is a moment that is not apprehended by senses and reason.
Cézanne abandoned career and city life to be able to maintain the solitude and the urge to break through in each and every painting that is a truly painful but rewarding condition to the artist’s personal satisfaction.
Paintings created afresh in one attempt of a master have young invigorating sense of the flux and constant becoming.
Lunch Time is a painting that actualizes the moment of creative eruption.
The moment that suggests that human perception is not limited and such artist as Jaisini can provide us with a view of wonder once again. Jaisini closely knit together network of lines, images, colors, and spots. And each network should be studied independently.
The artist carried out his idea for the painting in his mind and therefore final composition is technically immediate and spontaneous. There is hardly a way to separate each principle (conceptual, graphical, color, representational).
Cubists and futurists considered principle of simultaneity to be best conceived as energy and unlimited form of motion; thus the shapes of objects were not properties of those objects but were “snapshots taken by the mind of the continuity of becoming”.
Jaisini accomplished in Lunch Time something that was not achieved by futurists or cubists: the challenge to unite fluidity of the image with fluidity of the thought. Cubists approached the new understanding of form and matter by fragmenting forms and objects. But this type of philosophical analysis can learn about partial principals while attempt was to understand unity of reality.
Jaisini unites analytical process with visual. His paintings are full of secretive meaning enriching to the visual array of images portrayed in the state of constant becoming. Cubists first allowed the viewer to become aware of the passage of time implied through the physical shifts of perspective. Jaisini is the first artist to allow us experience the shift of the thought.
If it is true that scientific thought is different from artistic thought, the shifting of thought can connect man far beyond the recognition of absolute truth and relativity of knowledge.
Shifting thought could be considered as a curved line of non-Euclidean geometry. It can completely stretch out as if elastic thought.
Jaisini is the first artist to capture this elastic thought in his art, to be able to depict something so unimaginable in visual terms. Jaisini’s mind seems to be overdeveloped by the man’s intense effort to overcome limits.
This attempt is a personal character, discipline, burden, or habit. It isn’t what majority of people experience often as daily job requirement. But as a result of the critical effort Jaisini is capable to complete such painting as Lunch Time in only two days or so, without any preparation. He sets up a goal to completely integrate the secluded line of his personal style in a compositional knot that holds the unruly composition of emancipated images and their movements. Jaisini holds the expressionistic emotion under restriction of his mind in duality of freedom and order.
He lets the line flow and jam, fly and rush, slow down and amplify in all the endless varieties of visual patterns. At the same time he leads the secretive personal line of logic that is even harder to be captured or explained.
WET DREAM, Oil painting by Jaisini
Wet Dream, an oil painting by Jaisini, in terms of exploration of own sexuality, dreams, or nightmares, belongs to a human traditional need for personal revelations. The imagery of the work is of a usually Jaisinesque theme that is not to be a statement or an illusion, but which summons the emotions.
In Wet Dream, the feelings of morning euphoria and desire create a new formula of early life’s passion. Jaisini delivers a high sensory level through the graduate, almost hypnotic step by step desire awakening.
The work precedes the Reincarnation series. As in all of his paintings, Jaisini pursues a metamorphosis of the physical and mental states. In his works, the concept and the material are enclosed and inserted within each other. The essential visual vehicle is in a line, that emphatically has a life of its own and could be perceived as an automatic release. The enclosure of the line is not only graphical, but also symbolic of the connection between the picture’s elements which await their disclosure.
In the years of cubism, Andre Masson created his series of erotic drawings. In his works, Masson portrayed pure erotica with total absorption in the act, orgiastic, uncomplicated, and a little banal. The lack of diversity in such a subject matter as eroticism resulted in the Masson’s scenes of pairs, trios, or even dozens of naked women interacting in a sexual way with one another. Masson filled these scenes with a Rubensian appreciation of the flesh and its pleasures, the very quality which impoverishes the otherwise fruitful area of human psyche.
Jaisini, on the contrary, uses the sensual overtones to enrich and explore the mysterious realm of mind potential. So, instead of creating automatically, similarly, and limited, Jaisini employs his mind to complicate and develop the subject of desire.
In Masson’s erotic series, the only sentiment is the libidinous desire. Jaisini reflects a different time and epoch that is not satisfied with the simple approach. Jaisini combines together the physical with psychological, which becomes nearly a game.
The expressionistic line swirls flow in the open canvas ground and embrace the canvas in expansive loops. The work is airy.
The artist’s thought transfers line into an image of a contraposto torso with a liplike part on the neck cut. Another female images express their physical and emotional concerns. The bottom lean figure indicates the young age of this female. In turn, that may explain the desperate pose for the erotic fulfillment. The third blond woman at the upper right corner appears to be more sexually mature. She holds a big breast that belongs to another female with a face that has only big red lips and flowing down hair lines. Here, we find a profile of a man who seems to sniff the aroma of the female bodies not without pleasure. In the center, there is another gasping profile. The curvilinear forms enhance the overall impression of a fluid movement, which so well corresponds to the erotic sensation. A phallic finger touches a soft pillow and charges erotic energy in all other phallic configurations in Wet Dream.
All images link in their conscious-unconscious, figurative-abstract condition.
The cycle of desire goes on endlessly and is at the core of human existence. In Wet Dream, Jaisini liberates the desire from the self. In this well born work of art the desire is taken for a model. The work demonstrates what we know of creation to be a combination of already existing things into newer forms. That being so, the desire of man must have been in an endless existence and will continue to dwell in bodies and in works of art to which Wet Dream is an example.
Yustas Kotz-Gottlieb
Review of “Wet Dream” by Paul Jaisini
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