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Artworks Series Homage to Paul Jaisini, Invisible Paintings from 1994 by Gleitzeit International Group NYC
All RIGHT RESERVED COPYRIGHT GIGNYC 2014
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
"What is it all about?"
People ask us about GIG, about Paul Jaisini, about invisible art--what are we or what is it--but we opted not to talk about it or ourselves ever since its inception three decades ago. We prefer that people do the proverbial legwork of finding out themselves because...people these days are smart enough and can figure things out for themselves without us needing to spell anything out or shoving any specific knowledge down your throats. It should be people's own decision to make whether they want to know about it or not. We just give a name or vague caption, that's it, and let others do the rest. There are many names of things I hear that I don't care to know about. Who am I to tell you what you should or should not know. You can decide that for yourself just fine. In our philosophy, art is about discovery, enigma, uncertainty, puzzles, mind games, WTFs...like unearthing bones and discovering new, unknown species, for instance. One could consider GIG to be an artistic form of archaeology, particularly the ideas behind it, the philosophy that drives it. There are bones a-plenty to be dug up in the GIG-verse...whether you want to get your hands dirty is all up to you. And that's what it's all about.
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#flickr #editor #app #art-editor #decoration #creativity #coloring #stickers #cherry #stuff #hearts #animals #glitter #sparkles #collage
"Homage to Paul Jaisini Invisible Paintings from 1994" is the new series of artworks in the ongoing project "Art About Art" by the Gleitzeit International Group.
A 20th anniversary of invisible paintings by Paul Jaisini
is the celebration of future futurism. Paul Jaisini Invisible painting since 1994 Originally posted on pauljaisini:
Invisible painting since 1994 Paul Jaisini #homagetopauljaisini
apologize so let me clear myself up by introducing myself. Like I mentioned before, my name is Booba and, obviously I come from a better place than a mess of spilled paint, brushes sticking out everywhere and dirty pallets.”
The artist looked up and replied, “That is very helpful. As if I haven’t had enough of robotic smart parrots in addition to my mess. Then crash through my window just to pester me. If you are so wise, do me a favor, go to sleep because I have had quite a stressful day. I am sure it will be too difficult for metal robots to understand.”
The parrot shot back with anger, “So, just because I am made from metal, I don’t have a heart? And by the way. If I would’ve had no heart, would I fly three hundred million miles just to keep you with your confusion? Am I in the right place? I have landed on planet Earth, correct? And, your name is Claude, right? You are one of those genius artists. who have wild ideas to paint a perfect picture?”
The artist layed down on his bed and covered his ears. His head was spinning with crazy thoughts that this robot was more of an alien.
“I am not an alien, and, not a robot either. I am just a parrot who has original metal looks.“
The strange midnight guest puffed his chest, showing off his metal feathers. Sitting on the bed, dazzled, the artist said. “This is a dream. You can’t be real… at all.”
At that instant, Booba, the parrot, flew over and pecked the artist on the forehead with his curved beak.
“Ouch!” Shouted the artist. The timid cat screeched loudly and leaped off the bed, desperately searching for an exit.
“Am I real to you now, Claude? Just to clear the fog in your head I can say that you aren’t insane and I am for real. Your just like any genius, just a pinch loony. I really came here not to baffle you, but to help you see what I saw. And do you know what it is? A finished picture that you will paint soon. A picture that will stun the world with its beauty.” Said Booba.
© Midnight guest
this image was inspired by a fragment of a most unusual dream that i tried to recreate shortly after it came to me. i wrote in more detail about it in my dream journal; it was at grand central station and the time stuck with me for days after i awoke, like an earworm song. something very big was supposed to go down at that precise hour but unfortunately i woke up before i found out what exactly. however the events that led up to it suggested it was apocalyptic in nature, as a great many of my dreams are... it's the most challenging and painstaking process to visually recreate a dream or out-of-body experience, which is often unsuccessful due to its complexity or vagueness and better done in writing. sometimes though i get lucky, i'll bet you had some really spectacular dreams i wish i knew about!
MANIFESTO GLEITZEIT 2014
"Hey, Jaisini! It meant to be like your invisible paintings. If you can see beyond the black square (canvas), keep it." Kazimir's cat
OPEN YOUR EYE!
Paul Jaisini destroyed all art.
Paul Jaisini He Paints Invisible Paintings Since 1994
20 years ago Paul Jaisini destroyed all of his critically acclaimed art.
VISION REDIRECTED
Paul Jaisini. HE PAINTS INVISIBLE PAINTINGS
IN THE KINGDOM OF BLIND THE ONE--EYED IS THE KING.
PAINTING OIL WAS HIS LIFE'S JOY. PERHAPS INVISIBLEPAINTINGS ARE MUCH MORE.
Wipe Out Rainbow!
YOU WILL LIKE WHAT I SEE.
MESSAGE SENT MESSAGE RECEIVED.
VISION BEYOND VISIBLE.
HOMAGE TO PAUL JAISINI.
INVISIBLE? ARE YOU BLIND OR EVEN DAEP? WHAT A TRAGEDY.
DONT NEED EYES SEE PAUL JAISINI'S INVISIBLE PAINTINGS.
I'M FAKIN TRIPPIN IT'S BREATHLESS!
Paul Jaisini is an artist and an occasional photographer. His invisible paintings are spectacularly ahead of our time.
Paul Jaisini It's Time Get Down To Earth.
"I WAS POSSESED BY THE VERY THOUGHT START PAINT THE NEW INVISIBLE PAINTINGS I HAVE NO REGRETS OF WHAT I DID CUZ I DON'T EVEN REMEMBER... MY NEW INVISIBLE MUSE. PAUL JAISINI"
Paul Jaisini The Man Who Can See Future.
"Don’t be mad at me… I just finished my beautiful invisible painting .I ‘m so dirty /paint all over/ . If u can c it let me know what can u c in it?" Paul Jaisini
"SOMEONE LOOKING AT -- SOMEONE SEEING THAT. Paul Jaisini
You asked me: PHOTOGRAPHY is to catch a moment. One photographer was asked how do you manage to do such photos, to which he replied, if you would walk around the world several times by foot and shoot thousands of rolls, you wouldn't ask, how I got few good shots. To catch a moment before digital era, with no softwares, people were risking lives. Now to realize any idea on photo paper enough to do several layers of elemets by software. Add them to the base image. But genius film photographers in my opinion are the people who using lenz through their mindwork created paintings. These are few you can count on your fingers. Contemporary photography IMHO is nothing but technical explorers, not artists. They don't own camera, camera owns them. Paul Jaisini.
THE UNBELIEVABLE LIFE AND ADVENTURES OF PAUL JAISINI
FUTURE FOLLOWS PAUL JAISINI
Worn Out Vision Replaced.
To The Extraordinary Enigmatic Man Mr. Paul Jaisini.
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
Ben writes that if there's something hidden it would require skills to find it. At the same time one is learning, not only searching. Therefore I think that having skills to "solve the mystery" etc. means to learn. I am searching and learning at the same time. It seems that this process changes the path of my search. On a broader scale we all live in time with a lot of information available. We constantly process this info and continue the learning process. In effect it changes the paths of those who consume the information.
Perhaps you continue to learn even if you had enough already. The process itself is a discourse because of the constantly changing objective one could not stop in the search for something that "doesn't exist" - but what it really means that one wants to find something exclusive. I want to find this very rare and unique art. I read in the above message by EYKG, that someone who wants to have access - to see the paintings must belong to a small circle of people, for whatever reason.
Am I driven only by the fact that it is nearly impossible to find out the images of paintings? Yes. But I think in the process of search and learning the discourse takes me in a new direction. Fact: My initial interest was not about the paintings. As I already said, I want to understand the current "Invisibility" phenomenon. Would it be something before a next phenomenon develops. If I could understand the meaning of "Invisibility" in a broad sense perhaps there will be understanding of what is coming next to follow the "invisible" period.
Fact. Presently I am looking to find the authentic source of images that correspond to the paintings known as "Invisible" paintings by Paul Jaisini.
Fact. While searching/learning I feel happy. But there’s something that must be a part of this process.
Ecclesiastes 1:18 he that increases knowledge increases sorrow. biblehub.com/ecclesiastes/1-18.htm
Random Thoughts on Paul Jaisini… .
Paul Jaisini is not Marcel Duchamp, Yves Klein and all others.
There is a complex way to try to explain why, but there is also a less complex way. Not Duchamp, nor Yves Klein, etc came to the REDUCTION of visual means as early in Life as Paul Jaisini who started the GREAT REDUCTION as early in life as at the tender age of 10.
Clearly at such age there could be no such thing as artificiality or true sensitivity to what is called “the environmental trauma” with such a consequence to cause a young child- artist to refuse the LANGUAGE - visual or spoken.
At the age of 10 a child doesn’t know the philosophical depths of why any language could be deceiving.And yet at the age of 10 a child such as Paul Jaisini acts out straightforward without understanding or thinking about what he/she is doing.
The age factor is what significantly or completely opposes the artists such as Duchamp, Yves Klein who had arrived to the art reduction or destruction ideas at their mature age with long art career behind it.
Therefore to me any such attempt for reduction (on any scale from minor to major) of visual means is nothing but a self-serving attempt to reinvent own art. The only “true” “reductionist” among the existing visual artists was and remains Paul Jaisini.
He made his great breakthrough (the reduction of visual language) as early as at the age of 10.
This places him on the winning pedestal of the only known artist who from the very beginning of his artistic endeavors was already oriented not to accept what is known as visual language.
If someone wonders why wouldn’t Paul as a child artist just turn away from the arts if its known visual language had no appeal to him, just don’t get involved if you don’t believe in this visual or other languages (and since a child can’t really understand these sort of things written here still the child could find other interests in life…)
Paul can’t turn away from his gift in arts I assume due to his genetic predisposition to it.
He probably had little choice with his eidetic memory, the prodigious art talent manifested almost instantly after he was born.
Herewith having “no choice” he also is not “sold” to the visual language and its limitations.By the age of 10 he arrives to his own Great Reduction knowing nothing about art history and having zero interest in art. His "new" art must had proven truer to him if he continues.
As to what he creates on surface (paper, photography, etc) he calls it "killing time" at school and doing it without any pleasure. Any "normal" child gets huge pleasure from dealing with paints, drawings and crafts. Paul on the other hand has not experienced any such pleasure while drawing/painting on paper. He did it as I already mentioned to kill time and to give his artworks away to his peers who liked what he did.
Being popular among the school kids and especially girls was his only motivation. I find it very unusual that Paul as a child felt burdened by creating an artwork, that he never liked his artworks that were and remain quite notorious for their aesthetic beauty and mature technique.
At 5 years of age he shocked his father who is an accomplished sculptor when his son had made a three dimensional composition in a drawing for kindergarten, when what is commonly expected from a child would be a stick figures drawing. Paul created a detailed realistic drawing of a human figure, animals, landscape and so on with perspective of which he knew nothing… He was not trained in any art school growing up as a “normal” kid.
I want to point to what I find to be some striking things about P. Jaisini.
When he is asked about his childhood or past times he describes things in such detail that to someone like me would be inconceivable.
In short he remembers absolutely everything to a minute what was happening to him ages ago and can give the exact photo-like description.
If he perhaps (I don't know anything about his present life what he once told me I do know for a fact) doesn't have the same eidetic memory in present times, nevertheless what was once processed by his eidetic memory in the past remains memorized in such particular to eidetic memory quality.
It seems to me that Paul Jaisini sincerely doesn't like most visual arts. This must be due to the way how he sees things differently from how majority of us could see, the visual artists including.
He never really cared about his artworks he produced for whatever reason ever since he started producing from early childhood. pauljaisiniborntosee.pen.io/
In Invisible Art Sartre can’t define the language and what symbols are used to substitute things.
Jean-Paul Charles Aymard Sartre
en.wikipedia.org/wiki/Jean-Paul_Sartre Existentialism
en.wikipedia.org/wiki/Existentialism
Facticity is a concept defined by Sartre in Being and Nothingness as the “in-itself”, of which humans are in the mode of not being.
(Sartre maintained that the concepts of authenticity and individuality have to be earned but not learned.)
Sartre analyzed the problem of language in correlation of symbolism to expression. In language we don’t operate with things. When we speak about a thing we don’t use the thing but substitute it with the word. Same happens in science, art and so on where language uses symbols or substitutes to convey an idea.
Sartre can’t define the language of invisible painting, therefore there’s no symbols that substitute things in the language of the invisible painting. All creativity and science known to this day uses its own language.
source gleitzeit blog 2013
paul-jaisini-gleitzeit