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And with advance to REALITY COPY there’s certainly no way of changing this perception only enforcing it, nothing in reality is good enough for “REALITY COPY” that is just another paradox that is not futuristic.
We might be still skeptical about the arrival of REALITY COPY, but its only before its sold at the supermarkets.
What would happen after “Reality Copy” when the progress of all possible levels of true “reality copy” (in technical sense, not psychologically-philosophical) are achieved. The reality hence is copied and sealed.
Technology won’t stop there… one wonders. What is next.
In political sense when reality in representation is something embraced by conservative social power than with “reality copy” the conservative power is the dominating from the social point of view having new level of reality and it’s copy to be controlled.
*seems like the only possibly alternative to REALITY COPY could be ultra radical Invisibility)
In principle the artist aims to deform the reality subjectively to create not the “reality copy” lacking such skills but to convey the artistic poetic goal of expressing whatever given artist wants to express.
In a matter of “reality copy” what is left for the artist to argue with and deform… to question and test… Nothing really changes socially except for more pressure applied to the issue of dealing with self-image and tools to “sell” When a person changes the image the higher the technology the more transformed is the final product.
The progress of mental growth is just as conservative as control on the “visual image of reality” and its copy.
The ongoing technological progress is irreversible as it carries percent of good with bad,
It is common knowledge how for instance internet is benefit and at the same time does damage. A person who knows about the addiction and suffers would acquire the knowledge and hope from the place the person suffers the internet of course.
Same thing is with photography and video. Reality copy would add more psychological problems to the present but create more visual attraction of true-life experience with whatever could be rediscovered in Lifecopy style. Probably is benefits pornography since it will continue same as consumption of food. The basic things… Consumerism benefits since it is super-trained for “instant reach” affect and will commercially exploit the “reality copy” to sell more of “reality copy” gadgets the phones, screens, etc.
New generation of people will repeat the cycle in new technological means of having “reality copy” as nothing new but similar to any visual information currently available.
The creative people are the ones BEHIND the time it seems in a matter of “reality copy” and being unable to have anything is an alternative.
The Invisible alternative is the ONLY ONE to question “reality copy”
That is the power of UNKNOWN.
Techno progress can deal in “reality” bringing higher resolution to the fore to sell new generation of phones and gadgets.
But it really doesn’t change the philosophical issue of questions asked by philosophers, what is life, what is art, why do we live. Questions remain unanswered when techno progress veils those questions with the promise that higher technology would bring the end to all unanswered questions and answer them for people.
So far the techno advance puts the artistic, literary and philosophical field out of business. As when people get the toys (gadgets) and the playground (the podium of internet) the art is irrelevant and completely disconnected from the social phenomenon of self-representation. Art is not interested to question something with no philosophical substance to it.
The commercial art is willing to supply more stuff for consumerism. If its reality-copy than someone empowered by financial wealth (born rich) would come up with more decorative solutions that could serve REALITY COPY in needed fashion, add more details to the “reality set” to those who can afford it.
Same way it is now when people with means live with more things.
“Reality Copy” of people without means would look just as it is in reality, gray and unexciting. To help people without means the software would offer “decoration” solutions to add the faux details able to transform the surroundings to less depressing. It would enter the person into “life copy” of vacation at Caribbean resorts… etc.
What in such situation could be philosophically questioned, if nothing changed in human morality, but techno advance manage to involve people into self-entertainment to such degree that a person is no longer interested to read books about other people or watch movies and hear news. Self-promotion is the ongoing and time-consuming thing. One has to research the “popular” topics.
As to participating in reality activities, there’s the issue of not having time for anything that doesn’t deal with self-promotion and earning a living.
ART commerce is growing commercially going Industrial since supplying consumer goods is always rewarding in sales. On the other hand this and techno revolution reduces interest of writers and philosophers to dig in depths where there is no depth. It makes such people disengaged with the process. When there are no critical voices to the established situation or some few art critics pretend to do what is expected of them – know about current situation not only on the art scene but at large - socially, and have strong voice against the trends that contribute to the lowering of culture. There’s no more liberal freedom since nobody reads the newspapers. Even if the working critics were principal enough to write articles and books they know their voice would not be heard. They are not vociferous about anything at all because there’s a concept of supporting and art endavour since art is in decline and anything that relates to art needs their support.
There are no voices to oppose the current situation for many reasons such as no younger people would be interested in such undertaking also for many reasons of being disoriented in expectation of techno changes or living their me-life.
The young ones are the invisibility movers, every day someone who is young, information and internet savvy adds the invisibility statement to their online identity. I saw it on tumblr and Iheart. (samples year web address – source)
Art consumer goods sell and make the seller get the goods since sale is the rule.
Art critics silently agree and actually it seems if they even try to disagree there is nothing in art that presently shows any direction against the established art situation.
There isn’t anything not saying a serious claim to deny aesthetic values of the art present and past, to turn away from any influence and history by the fashion avant-garde to question than resuscitate (bring back from death) art that lost vitality and practically is a dead art of dominating taste in an authoritarian culture and conformity.
Bring new blood to reinvent the art into weapon against the outlived old and positioning itself as direct opposition AGAINST art that represents culture of the present time.
Culture of consumerism that turned into visual consumerism with the help of internet is hard to oppose and challenge in any attempt of making bid public art spectacle, won’t challenge any concept but serve certain need for entertainment.
Invisible art of Paul Jaisini stands against all that is dominating and culturally regressive in the present, false visual multiplicity that imply democracy and absence of segregation in visual sphere, all inclusiveness.
On so many levels Paul Jaisini brings knowledge of how the present condition reflect on a mind. (non-linear thinking, information processing, constant analysis is the advanced state of high analytical creative mind /osd, adad is the side effect but there are more worse side effects) Shows the burst to create in manifestation of genius mind (can do any task without training) but unable to maintain the creative process as wholesome, bored with the immediate results. Invisibility is theoretical stability and result of high impact activity that gives fast result of creativity and genius realized in art. Then instability in the fact of the created art un--preserved and lost, destroyed.
On a lower level of people who start building some blog with enthusiasm dedicating time, research than abandoning it to become digital graveyard demonstrates inability to continue and search for new. Inability to face what yesterday seemed interesting and capture someone’s mind to give the creative boost.
(fast life, no sleep, high tech knowledge, constant search for new, unsatisfied… new is old – altogether supports “CONSUMERISM” when buying is haul more than physically needed, quantity is the need for new.
Invisible art as a concept seem to attract wide public and elite in such diametrically opposed combination, of people without high aesthetics in mind or the complete opposite illuminati-culturati. People with average or below average taste and aesthetic requirements are as interested and supportive as the elite. When it comes to someone in the middle- another phenomena, quite often those who are educated and intelligent take a stand against even one mention of the art being possibly somehow invisible.
These people respond very well and willing to agree with the concept as Invisible art is brought to them by mass media. In the beginning I was using internet to send out essays and saw the proof that as avant-garde wanted to reach people who never acquired artistically developed taste the invisible art was and now is more than ever suits their taste even to degree of obsession.
That’s adds insult to injury when nobody even pay attention and there’s nothing to offer as the alternative.
They want something tangible as the alternative, the grown philosophy to brew in the minds of people and artists as the sign of time.
The invisibility is the idea that has the power to antagonize the “reality copy” but not in a sense that is widely used in the present time. To express social isolation in case of the teens as seen on tumblr. (examples and variations of Invisibility trend in primitive pictures shared every day in such huge quantities no art publication ever knew, teens and pre-teens are those with passion among the rest of us, when they spread the word it goes far, same as the early internet time, when the word would go far distances to large number of people)
Historically known of the episodes when many artists tried to create the so-called invis art but it really didn’t involve much creativity except for the concepts they came up with, but in reality it involved the reduction of visual means and performance art when the audience came up with more ideas acting around the non-existent artwork than the artist.
Personally I discovered high interactive value of the “PRESUMED” invisible painting when I was getting a lot of responses with very interesting commentaries from the people who actually insisted I was sending them info about the invisible artworks. I never made any claims when sending written essays. People decided for me and probably this is the best way for the interactive dialogue to let people decide.
The only known versions of invisible artworks would be not something that can turn into a philosophical school of thought but random reductions of visual means of various artists. It all came to same MOA that involved frames etc., not the process of creativity or life long creativity that would show how such artistic philosophy develops and what various periods of the artist’s life produce by his belief in his artistic style.
The known precedents of exhibiting so-called invisible art were always random statements that never continued to develop in a distinct style.
What one usually expects is a blank canvas, a picture with some written ideas which is more a topography art, a picture that is in a wrapping of covered up and is a found object art. The only known artists who continued wrapping is Christo but his art is not considered invisible even though he hides or attempts to hide what is inside the wrapping….
Recently same as in more distant periods in time many artists are trying to reduce their visual means. There’s a difference though. In previous times artists ventured into reduction of visual means with more ease. The artworks from older times with reduced visual means had much less labor and look less worked on.
Now the reduction of visual means is something that doesn’t fall under the artistic philosophy when an artists trying to prevent an overkill of the visual imagery.
If Rothko worked on his abstract painting laboriously than in current standards his work would be considered not sale’s worthy. Now to be sale-worthy the abstraction is worked to show a lot of workmanship. Surely Rothko doesn’t want anyone to see a lot of workmanship quite the opposite, he wanted his paintings to look fresh and not overdone. And in current standards he would have to toil on every dot in his painting to perfect it.
Today’s abstract paintings look like very hard-worked on simulations of surfaces that look like some textures (varieties of plain or distressed surfaces /stone and whatever is the decorative surfaces of abstracts, patterns that are used in interior design.
Overworked, machine-like is expensive looking enough to sell in the gallery but it creates a certain amount of fatigue in time. The commerce knows about it, the fatigue would bring the art buyer to buy more to add some new life to the art collection ed infinitum.
Art commerce wants more art collectors in the times when art is selling and makes money and should be called what it is – decorative luxury items.
Art or luxury decorative items was always meant for people with wealth and they always wanted to get their money worth.
When abstract painting is done in a manner to be worthy of selling price it is not creativity of conceptual thought and has no abstracted meaning. The craft of simulating surfaces is widely known and is used in interior design. When it is unique that no other craftsman can repeat it is recognized nearly as jewelry and rag-making, etc. All the items that cost money due to the high workmanship and hours, months and sometimes years of creation. Same way was built the historical hand-made furniture. Same way the current abstract decorations will hold in time. It is made for someone as rich as royalties but it doesn’t mean that it has anything to do with artistic creativity, the most mysterious and unexplained human phenomenon.
So anyone who is interested to earn money as a maker of such luxury items and be able to place them in the store for sale – the art gallery, can come up with own recipe for surface replica and start working will find a paying job on the art scene nowadays...
It doesn’t involve questioning of morals, times and life. It involves many hours of working and ability to produce varieties of the same surfaces in good taste. Instead of questioning human spirituality, or questioning art means that someone considers irrelevant and outdated, not for any breakthrough to create something revolutionary new.
Homage-to-P.Jaisini-by-Stelly-R.2014
Paul Jaisini Vision Beyond Visible 20 Years Ago He Destroyed All Of His Masterpieces In 1994 He Started To Paint The Enigmatic Invisible Paintings
MONDAY FUN READ! THE drunken muse
The story "Drunken Muse" was audio recorded on a hidden voice recorder during the conversations about two decades ago. The story-teller didn't know or consent to the recording. The audio tapes on compact cassettes were never used. The records were partially damaged and lost. www.slideshare.net/PaulJaisini/drunken-muse
medium.com/@maureenhorowitz/scuba-blue-skull-299c8e603422 Lee Eiseman talks Spring 2015
This season there is a move toward the cooler and softer side of the color spectrum. An eclectic, ethereal mix of understated brights, pale pastels and nature-like neutrals take center stage as designers draw from daydreams of simpler times. Remembrances of retro delights, folkloric and floral art, and the magical worlds of tropical landscapes restore a sense of well-being as we head into warmer months.
Questions from various angles
Paul Jaisini claims he paints invisible paintings.
Is it Anti-Realism?
Is it Visual Emancipation? Is it full Visual Emancipation from any kind of visual image?
Paints Invisible Paintings - Is it just a figure of speech?
Is it Utopian?
Is it driven by unconscious and irrational thus in accordance to Sigmund the invisible painting is not rationally autonomous?
How could it be verified and where or what is the invisible painting’s by Paul Jaisini evidence?
Paul Jaisini wants to cultivate Invisible Style. It surely is a style that is not a lucid one, for clarity would expose the lack of content.
Is there any content?
Is it an attack on the ‘metaphysics of presence’?
What is the definition if there is certain definitions to apply to Invisible Painting? Can it be informative about contemporary culture?
Is Paul Jaisini with Invisible Paintings promotes Postmodern Obscurantism - deliberately preventing (fully if it is in fact the invisible painting) the facts or the full details of Invisible Painting’s matter from becoming known?
(Obscurantism: deliberately restricting knowledge—opposition to the spread of knowledge, a policy of withholding knowledge from thepublic; and, deliberate obscurity—an abstruse style (as in literature and art) characterized by deliberate vagueness.) Leo Strauss also was criticized for proposing the notion of “esoteric” meanings to ancient texts, recondite knowledge inaccessible to the “ordinary” intellect.
Kant employed technical terms that were not commonly understood. Schopenhauer contended that post-Kantian philosophers such as Fichte, Schelling, and Hegel deliberately mimicked Kant’s way of writing. “Because of his style which was obscure, Kant was properly understood by exceedingly few. And it is as if all the philosophical writers, who since Kant had had some success, had devoted themselves to writing still more unintelligibly than Kant. This was bound to succeed!”[
Does Paul Jaisini wants to be understood on any level or he wants no understanding of his Invisible Paintings? Can there be any level of understanding if not seeing the Invisible Paintings?
"His silent song to Paul Jaisini "
why do you scream a silent song
the darkness knows you dream alone
your dream is just another pity show
they all are born dream-blind
to see your dreams- miracles unshown
yes, those who created the world for blind
their only sins were silent words unspoken
for those who cannot hear the word: be kind
to those who are invisible
who trying hard to fix reality unbroken
to see unseen was never easy
to open blind mind for wonder - dreams
to hear the unspoken truth not easy
your invisible heaven you paint
to make them see your fantasy - it seems.
I wish not once I met myself inside of you
I was a prisoner of reason for ever long
You wish I never hear yourself, to whisper
I'm glad you like what sight is in my song
2
Hello, soul blinded mortals, hello again
one day I'll show you all my twinkling dreams
If you resolve do drown into jelly of my brain
next, you will hear the silence of your screams
hello, Long time no see sweet-flavored sorrow-minded
you are so brave to enter in my icing cave
came all along to gently break my only lonely heart
with freezing news: "for what I do - nobody gives a fart"
hello nobody's, from the fart-smell nowhere land
your nasty smell reminds I've seen my own decay
I'm getting none the malodorous of your gooey band
with me I made my stay for painting my fantasy' away
all my existence I was begging time for validation of my fly
I didn't know why, I didn't know where is 9 moon sky
time took me wherever shadows clear, light years from here
was chosen I away somewhere, where light you hear
away from here elsewhere from over here
they threw me on the under of my mind
where my dream was near,
my delusion comes to be so vivid and so clear
old sphere has changed, my vision not as pure
the bottle with the message nether the ocean of my tear
my obey is slipping covered with your Domesday fear
I lived waiting to understand myself
why still I fight your demons with my paintbrush
that solely I be able see light years away from here
"Golden song from the Kingdom of Blind"
We pity you sick clown, a nightmare screamer
we never cared for you at all, coz you are dreamer
Too much of us and even if we blind, we ocean-strong
but you with your hollow friend are all alone
Invisible, you say to all of us, so what the use?
Enjoy yourself with Jesus and cross will be abused
surprise us with your painted heaven, never seen
even you are a new messiah, your vision still obscene
you need us to love it, you need us to see it living
you crazy fool, how can we if we all blind and unkind
our vision worn out by gold and money out of our mind
we are too busy eating, fucking, shitting we have no time
Shut up !!! Shout out one-eyed king to blind ocean
kneel before me uneducated blind slaves!
And golden son of god has spoken:
"My only eye is getting ill you are ours only hope
My stage getting darker for the show must go on dope
don't listen to those whores, they're getting only worse
they just jealous you can see with no eyes a magic couse
your world invisible not new, they live in darkness long
oh, but for the king without only eye to see no treasure
my magic god! will be the horror you can not measure
teach to see unseen before me, paint your diamond song
don't be afraid for my love deep inside your soul
paint treasure world to see, then I'll show them all
you have so much to share, so much to show, to do...
we're getting down on our knees, now all is up to you!
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!
www.brandonseniorseminars.com/?_escaped_fragment_=transge... HomeUnderstanding Creation & EvolutionCan You Dig It?What Would You Ask GodPersonal Bible Studies5 Minute Video Bible StudiesConnecting the PeacesAbout the PresentercontactCreation & Evolution TopicsYour Health and YouNo More Stinkin’ Thinkin’Stop SmokingDinosaur Drawing Contest WinnerThe Unbreakable Family SeriesArticles ArchiveThe Dead Sea ScrollsThe Sumerian King ListThe Epic of GilgameshBible studiesWhy Jesus spoke in parablesThe Wise and Foolish BuildersOne step at a timeMilk of the WordConnecting the Peaces studiesThe Birth of ChristParallelsA VirginRejoice With WeepingOut of EgyptParables of ChristScientific statements from the BibleIn Time & SpaceIn the BibleIn the AnimalsIn HumanityThe Unbreakable Family StudyBaby DedicationTransgenderismTrue IndependenceAlcohol and Depression7 ways that science points to intelligenThe Sacrifice of ThanksgivingWhat does the Bible say about transgenderism? My dear friends we live in an exciting time when new things are happening. Technology exists today like never before. We even have the technology to manipulate hormones and the basic body parts that make us who we are. A question that has risen recently is, what does the Bible say about transgenderism? Is God in favor of this? How should I respond to the growing popularity of this subject? Let’s first start with the definition of transgenderism. Oxford Online dictionary defines it as, “A state or condition in which a person’s identity does not conform unambiguously to conventional ideas of male or female gender”. In other words a male that feels as though he is female or vice versa. With Bruce Jenner hitting the spotlight as he becomes Caitlyn Jenner many questions arise, not to mention some eyebrows. Let’s take a look at some Bible passages and then we will look at some ramifications of the idea of transgenderism. Deuteronomy 22:5 – A woman shall not wear anything that pertains to a man, nor shall a man put on a woman’s garment, for all who do so are an abomination to the Lord your God. The Bible speaks very clearly on the subject of dressing like the opposite sex. Many people will be quick to jump in and say “but they feel like they are the opposite sex” or “they were just put in the wrong body”. We then must ask the question, does God make mistakes when He creates? Genesis 1:27 – So God created man in His own image, in the image of God created he him; male and female created he them. Jeremiah 1:5 – Before I formed thee in the belly I knew thee… God is clearly saying here that it is in fact He that creates. When He created men and women He created us distinct and different from each other. The male and female both have specific rolls to play in a relationship and while we were created equal we were, in fact, created different. Ephesians 5:31 - For this reason a man shall leave his father and mother and be joined to his wife, and the two shall become one flesh. With this topic we must also address the topic of homosexuality briefly. The way the two (male and female) become one is through sexual intercourse in having a child. Therefore two partners of the same sex cannot become one flesh. Let’s look at some of the ramifications of transgenderism as seen in the Bible. Romans 1: 24-32 - Therefore God also gave them up to uncleanness, in the lusts of their hearts, to dishonor their bodies among themselves, 25 who exchanged the truth of God for the lie, and worshiped and served the creature rather than the Creator, who is blessed forever. Amen.26 For this reason God gave them up to vile passions. For even their women exchanged the natural use for what is against nature. 27 Likewise also the men, leaving the natural use of the woman, burned in their lust for one another, men with men committing what is shameful, and receiving in themselves the penalty of their error which was due.28 And even as they did not like to retain God in their knowledge, God gave them over to a debased mind, to do those things which are not fitting; 29 being filled with all unrighteousness, sexual immorality, wickedness, covetousness, maliciousness; full of envy, murder, strife, deceit, evil-mindedness; they are whisperers, 30 backbiters, haters of God, violent, proud, boasters, inventors of evil things, disobedient to parents, 31 undiscerning, untrustworthy, unloving, unforgiving, unmerciful; 32 who, knowing the righteous judgment of God, that those who practice such things are deserving of death, not only do the same but also approve of those who practice them. Notice that in the last part of verse 32 that those who approve of such behavior are just a guilty as those who participate in it. Satan has brought the family unit, and the rolls inside the family unit, under attack. What is really at the heart of this issue is sin. Satan is attacking the family to distract us from Jesus and His salvation. It may seem a bit harsh and a call to reality but that is exactly what God must do from time to time to get our attention. The recent development of the Bruce Jenner story is being fueled by Satan to use a popular figure to blur the lines between right and wrong. As we grow nearer to the return of Jesus, Satan will use more scenarios like this to continue to blur these lines. Many may say that they are proud of Bruce Jenner for being himself and having the courage to do what is right for him. However, he is doing anything but being himself. By making this seem ok we are opening the floodgates of more situations like the one in Denver, Colorado where a seven year old boy named Bobby Montoya, who identified himself as a girl is now allowed to enter into Girl Scouts. We also see this in Boy Scouts. In May 23, 2013 it was voted that they accept gay youth. President of the Boy Scouts of America, Robert M. Gates is calling for an end to the ban on adult homosexuals in the illustrious organization. While this article may not be popular and may even be viewed as homophobic, these are not my ideas. This article simply reflects what is written in the Word of God. This is a call for Christians to stand for our beliefs. Be confident in the Word of God and reflect His character in your life. While God loves the sinner He hates the sin. Jesus died on the cross for all people and it is His desire that we all come to repentance. Acts 2:27-39 - 37 Now when they heard this, they were cut to the heart, and said to Peter and the rest of the apostles, “Men and brethren, what shall we do?”38 Then Peter said to them, “Repent, and let every one of you be baptized in the name of Jesus Christ for the remission of sins; and you shall receive the gift of the Holy Spirit. 39 For the promise is to you and to your children, and to all who are afar off, as many as the Lord our God will call.”
FOR IMMEDIATE RELEASE
MANIFESTO GLEITZEIT 2015
BY STELLY RIESLING
Featured below is another original art work of mine in homage to THE PIONEER OF INVISIBLE ART — PAUL JAISINI. Forget all the copycats that came after him — Master Paul Jaisini was the *FIRST* of a totally original concept and the *BEST*. My favorite thing about him is that he’s a voice, not an echo, which is quite rare.
DISCLAIMER: This is for anyone who is a hater OR wishes to better understand me, what I’m all about, so you can decide whether I’m weird or normal enough for you — a kind of very loose manifesto, rushed and unrevised, full of raw uncut emotion that I don’t like to be evident in my writing as lately I prefer a more professional, formal style, so we can consider this a rough draft of the more polished writing to come when I have extra time. I might return to this text later and clean it up or break it into separate parts. Right now it’s a long-winded hot mess, so if you manage to make any sense of it, BIG PROPS TO YOU. lol …and if you manage to read it ALL, you have my solemn respect!!! in a day when reading has been reduced to just catchy headliners and short captions of images once in a while. The consequence of this one-liner internet culture is non-linear, tunnel thinking, which is baaaaaad.
There lives among us a most enigmatic and charismatic creature named Paul Jaisini who led me into the wonderful world of art, not personally, but through descriptions of his artworks in essays written and published online by his friend, which painted the most fascinating images in my mind. Early on as a kiddo, I experimented with photography, simple point and shoot whatever looked attractive to me. Digital manipulation of my photographs with computer software followed… and somehow I learned useful drawing techniques along the way to combine existing elements with nonexistent ones, which allowed me to elevate the context for my ideas. Later, I started creating my own digital art from scratch for my friends and family as a favorite pastime. They would shower me with praise and repeatedly encouraged me to share my “different” vision with the rest of the world… it took a while and wasn’t easy to overcome the insecurity of not being good enough along with a gripping fear of being harshly criticized, but one day I woman-ed up and started publishing my work on the web, reminding myself that my livelihood didn’t depend on a positive reception.
Paul Jaisini’s role in all this has been to not disgrace myself, even if what I do is just a hobby. And I would never do him and other genius artists the disservice of calling myself a professional because I know I’ll never be as good as any of the GIANTS of pre-modern history. Be the best or be nothing, no middle ground.
People’s jealousy in the past, future and present over my obsessive love of Paul Jaisini, which they are well aware is purely plutonic, has caused them to despise the man and has made many relationships/friendships impossible for me. I refuse to have such people in my life because by harboring any negativity towards Paul, they unknowingly feel that way about me and express it to me. It’s their own problem for not realizing this. Paul’s new art movement, Gleitzeit, shaped me into the allegedly awesome girl I am today, giving my art more edge, more “sexy” because it refined my vision of the world and propelled me to attain the skills necessary to not dishonor my family name through tenacious pursuit of perfection. Since the beginning of my life, I attempted to depict what I saw in visual, musical and literal forms, but continuously failed without adequate training and determination. Paul Jaisini’s Gleitzeit was the answer to my prayers. Who I am today I owe mostly to him and his selfless ideals of the artverse that I’ve given unconditional loyalty to (he has this cool ability for hyper-vision to see whole universes, not itty bitty worlds, hence I call it an artverse instead of art world, with him in mind). So again, anyone who hates Paul Jaisini hates ME because, regardless of what he means to you, he is the most important person in my life for making me ME. The way a famous actor, dancer or singer inspires others to act, dance or sing, Paul inspired me to become a better artist, better writer, better everything. More people would understand if he was a household name because they’re wired to in society. But we’re inspiring each other all the time in our own little communities without being famous, so if someone has the ability to change even ONE person’s life immensely with creativity, it is a massive achievement. And passionate folks like myself are compelled to scream it from the cyber rooftops. So here I am. It’s whatever.
Furthermore, I’d like to address here a few pressing matters in light of some recent drama brought on by both strangers and former friends. To start, I never judge the passions, interests or likes of others, which are often in my face all over the place, so likewise they have no right to judge any of mine. It is quite unfortunate and frustrating how very little understanding and education the majority of people have or want to have. Their logic is as primitive as a chipmunk when it comes to promotion of fine art on the web: “spamming, advertising, report!” It’s their own problem that they fail to understand what it’s about due to the distorted lens through which they see the world or inability to think for themselves; an inherent lack of perception or inquisitiveness. Well, guess what? Every single image, every animation, every video, every post dedicated to Mr. Paul Jaisini and “Gleitziet” (to elaborate: a revolutionary new art movement Paul founded with his partner in crime and personal friend, EYKG, who discovered him and believed in him more than anyone) has an important purpose. Every one of those things you run across is a piece of a puzzle, a move in a game, an inch down a rabbit hole; the deeper you go, the more interesting it gets; the more levels you pass, the more clues unfold, the greater the suspense and nearer the conclusion (yet further). You earn awesome rewards like enlightenment, spiritual revelations, truths, knowledge, wisdom and the most profound reward of all: the drive to improve yourself to the absolute maximum, so an unending, unshakable drive. People often make a wrong turn in this cyber game and go back a few levels or get stuck. Those that keep on pushing, however, will come to find the effort has been worth it. And what awaits you in the end of it all? The greatest challenge to beating the game: YOUR OWN MIND. You will be forced to let go of every belief you held before you had reached the last level, to completely alter your mindset and perception of the world, of life, of yourself. But by the time you’ve gotten to that point, it will be as easy as falling off a cliff! (It is a kind of suicide after all — death and rebirth of spirit.)
Paul Jaisini does NOT, *I repeat* does NOT use mystery and obscurity to his advantage as a clever marketing ploy, no, he’s too next level for that with a consciousness so rich, he should wear a radioactive warning sign (he’ll melt your brain, best wear a tinfoil hat in his presence as I certainly would.) The statement he makes is loud and clear, hidden in plain site for those who take the time to connect the dots and have enough curiosity to fuel their journey into unknown territory (an open mind and flexible perception helps a lot). Actually, anyone with an IQ above 90 is sure to figure it out sooner or later. Hint: You don’t have to SEE an extraordinary thing with your eyes to know it exists, to understand it and realize its greatness — you can only feel it in your bone marrow, your spinal fluid, your heart and soul. The moment you do figure it out, as the skeleton key of the human soul, it will unlock the greatness and massive potential buried deep within, changing the doomed direction humanity is undoubtedly headed. I don’t speak in riddles, I speak in a clear direct way that intelligent humans will understand, so I’m counting on them.
GIG is an international group of artists and writers that support Paul Jaisini’s Gleitzeit. We started off as an unofficial fan club of Jaisini in 1996, comprised of only 6 individuals spanning 3 countries, and eventually escalated in status to an official fan group across the entire globe. A decade later it had grown to hundreds of fans. Nearly another decade later, there are thousands. Let’s not leave out another delightful group of vicious haters that have been around for nearly as long as us since the late 90s and have also grown in impressive numbers. Now, for the record (and please write this one down because I’m sick of repeating myself), Paul Jaisini himself is not part of our group and has nothing to do with us. He loves and hates us equally for butchering his name and making him appear as a narcissistic nut-job in his own words. He casts hexes on us for the blinding flash we layer over the art that members contribute to GIG — “disgusting-police-lights, seizure-inducing-laser-lightshow, bourgeois-myspace-effects retarded-raver shit” in Paul’s words. Ahh, how we love his sweet-talking us. In a desperate attempt to please him, those among us who make the art and animations have spent countless hours and sleepless nights trying to solve a crazy-complex quantum-physics type of equation = how to not create tacky or tasteless content. He does fancy some of it now, we got better, that’s something! In the reason stated below, our mission just got out of hand at some point.
What little is known about Paul Jaisini, even in all this time, is he’s a horrible perfectionist who slaughtered hundreds of innocent babies — I mean — artworks of remarkable beauty created by his own right hand (mostly paintings, some watercolors and drawings). He’s a fierce recluse who wants nothing to do with anyone or anything in life. But those few of us who know of an incredible talent he possesses (one could go as far as calling it a superpower), could not allow him to live his life without the recognition he FUCKING DESERVES more than any artist out there living today and, arguably, yesterday. We use whatever means necessary to reach more people, lots of flash and razzle-dazzle to lure them into our sinister trap of a higher awareness. Mwahaha! The visual boom you’ve witnessed in both cyber and real worlds, that is GIG’s doing — two damn decades of spreading an art virus — IVA. InVisibleArtitis… or a drug as in Intravenous Art. It’s whatever you want it to be, honey.
Our Gleitzeit International Group (GIG) started off innocently enough and gradually spiraled out of control to fight the haters, annoying the hell out of them as much as humanly possible. They don’t like what we do? WE DO MORE AND MORE OF IT. But never without purpose, without a carefully executed plan in mind collectively. If we have to tolerate an endless tidal wave of everyone’s vomit — e.g., idiotic memes and comics; dumbed-down one-liner quotes; selfies; so-called “art photography” passed through one-click app filters; mindless scribbles or random splatters by regular folks who have the nerve to call themselves serious/pro artists; primitive images of pets, babies, landscapes, random objects, etc… then people sure as shit are gonna tolerate what we put out, our animated and non-animated visual art designed for our beloved master, Paul Jaisini, who has shown us the light, the right path to follow, taught us great things and done so much for us — and so in our appreciation of him, we stamp his name on everything, for the sacrifices he has made in the name of art, to save our art verse, he’s a goddamn hero. There’s a book being written in his dedication where little will be left to the imagination about him.
If Paul Jaisini was as famous as Koons or Hirst, for example, people would know it’s not him posting stuff online with his name on it but fans creating fanart like myself among others. But noooooo, such a thing is unfathomable to most people - the promotion of another artist. Like, what’s in it for us? Uhh, nothing?? This is all NON-PROFIT bitches, the way art should be. It’s a passion FIRST, a commodity/commercial product/marketable item LAST and least. Its been that way for us since the early 90s to this day. Not a single member of GIG has sold an art work (neither has Paul Jaisini who’s a true professional) and we want to keep it that way. We do it for reasons far beyond ego. So advertising? Really? How the hell do you advertise or sell thin air, you know, invisible paintings, invisible anything? Ha ha, very funny indeed. The idea here is so simple, your neighbor’s dog can grasp it. Our motives: replace fast food for the mind with fine art, actual fine art. You know, creativity? Conscious thought? Talent? Skill? Knowledge? All that good stuff rolled into one to bring viewers more than a momentary ooohand aaahh reaction. Replace the recycled images ad nauseum; repetitious, worn-out ideas; disposable, gimmicky, money-driven fast art for simpletons. Stick with the highest of ideals and save the whole bloody planet.
Fine art is often confused with craft-making. This often creates bad blood between classically trained artists who put out paintings that leave a lasting impression, that make strong conversation pieces, that are thought-provoking and deep… and trained craftspeople whose skills are adequate to create decorative pieces for homely environments — landscapes, still lifes, animals, pretty fairies, common things of fantasy, and other simplicity. Skills alone are not enough for high art, you need a vision, a purpose, the ability to tell a story with every stroke of your brush that will both fascinate and terrify the viewers, arousing powerful emotions, illuminating. I have yet to see a visible painting in my generation that does anything at all for me, other than evoke sheer outrage and disgust. What a terrible waste of space and valuable resources it all is.
Paul Jaisini leads, we follow. He wishes to remain unknown - so do most of us. I’m next in line, slipping into recluse mode, no longer wanting to attach my face, my human image to my art stuff. I wish to be a nameless, faceless artist as well, invisible like P.J., and in his footsteps I too have destroyed thousands of my own artistic photography and digital art made with tedious, labor-intensive handwork. The whole point of this destruction is achieving the finest results possible by letting go of the imperfect, purging it on a regular basis, to make way for the perfect. I love what I do so it doesn’t matter, I know I’ll keep producing as much as I’m discarding, keeping the balance. Hoarding is an enemy of progress, especially the digital kind as there’s absolutely no limit to it. It’s like carrying a load of bricks on your back you’ll never use or need.
The watering down of creativity that digital pack ratting has caused as observed over the years is most tragic. For the creative individual, relying on terabytes of stock photos or OSFAP as I call them (Once Size Fits All Photos) instead of making your own as you used to when you had no choice, being 100% original, is a splinter in the conscience. It’s not evil to use stock of, say, things you don’t have access to (outer space, deep sea, Antarctica, etc.), but many digital artists I know today can’t take their own shot of a pencil ‘cause they “ain’t got no time for that!” How did they have time before? Did time get so compressed in only a decade?
Ohhhhh, and the edits, textures, filters, plug-ins and what-have-you available out there to everyone and their cats… are responsible for the tidal wave of rubbish that eclipses the magnificent light of the real talents.
I can tell you with utmost sincerity there is no better feeling on earth than knowing your creation is ALL yours, every pixel and dot, from the first to the last. It’s not always possible to make it so, but definitely the most rewarding endeavor. I’m most proud of myself when I can accomplish that.
Back to Paul Jaisini, from the start there have been a number of theories floating around on what his real story is. One of my own theories is that he stands for the unknowns of the world who can’t get representation, can’t get exhibited at a decent gallery because highly gifted/trained artists aren’t good enough - those kind of establishments prefer bananas, balloon dogs, feces, gigantic dicks/cunts, and all kinds of what-the-fucks…
So again, you don’t get the Paul Jaisini thing? That’s your problem. Don’t hate others for getting it. People are good, very good, at making baseless assumptions and impulsively spewing it as truth. They criticize and judge as if they’re high authorities on the subject yet they clearly lack education in fine art or art history and possess little to no talent or skill to back up their bullshit. My little “credibility radar” never fails. When they say I know this or I know that, I reply don’t say “I know” or state things as fact as a general rule of thumb - instead say “I assume/believe” and state the reasons you feel thus to appear less immature, especially about a controversial topic like invisible art. I have zero respect or tolerance for egomaniacs who think they know it all and act accordingly like arrogant pricks. Who can stand those, right? Once again, a good example would be: I, Stelly Riesling, believe everything I’ve written in this little manifesto to be correct based on personal experience and observation from multiple angles, thorough research and sufficient data collected from verifiable sources (and don’t go copying-pasting my own words back at me, be original). Just because you or I say so doesn’t make it so. Just because you or me think or believe so doesn’t make it true or right. I only ask that my opinions are regarded respectfully and whoever opposes them does so in a mature, civilized manner. We should only be entitled to opinions that don’t bring out the worst in us.
I don’t normally take such a position, but the time has come to stand up for what I believe in! It’s quite amusing and comical how haters think calling me names, attacking me or my interests or members of the project I’m part of for years is going to change something. It only makes more evident the importance of what I’m doing so I push on harder still.
Words of advise to those who can identify with me, with my frustrations over people’s reluctance to change their miserable ways, with our declining art world…
DON’T waste time on people who sweat the small stuff, whose actions are consistently inconsistent with their words. DO waste time on people who always keep their eye on the ball—the bigger picture of life.
Paul Jaisini’s invisible paintings are more than hype, more than your lame assumptions. Here’s one I got that’s pure gold: a cult! It started out as A JOKE OF MINE that was used against me. I told a then-good friend that he should come join our little “art cult” in a clearly lighthearted manner, and later he takes this idea I put in his head first and accuses me of being in an (imaginary) cult—the jokes on me eh?. But wait, aren’t cults religious? Our group consists of people around the world of different faiths (or none at all) so how could that ever work? If religion was about making fine (non-pop) art mainstream and bringing awesome, fresh, futuristic concepts to the collective consciousness, the world would not be so fucked up today because talent, creativity, originality and individuality would be the main focus, not superficial poppycock; those things would be praised and encouraged and supported in society by all institutions, not demonized and stigmatized.
Here is one thing I CAN state as solid fact: only one person close to Paul Jaisini knows the TRUE story, or at least some of it: EYKG. Everything else that has ever been said about him is myth, legend, gossip, speculation, the worst of which is said by jealous non-artists (wannabes, clones, posers, hang-ons, unoriginal ppl in general) and anti-artists (religious psychos, squares, losers and -duh- stupid ppl). Sadly, people are unable to see the bigger picture by letting their egos run their lives or repeating after others as parrots.
Commercial art, consumerism, and ignorance of the masses truly makes me want to curl up in a ball, not eat or drink or move until I die, just die in my sleep while dreaming of a better world, a world where real fine artists rule it with real fine art as they used to and life is beautiful once again….
Well I hope that settled THAT for now, or perhaps inadvertently made matters worse. I hope I didn’t sound too pissed from all these issues that keep popping up like penises on ChatRoulette… just got to me already! Can you tell? I had to put my foot down, stomp ‘em all!
To be continued, still lots more ignorance and pettiness to battle… Till then peace out my bambini. MWAH!
FOR IMMEDIATE RELEASE
MANIFESTO GLEITZEIT 2015
PROLOGUE
Paul Jaisini was like a messiah, as you wish, who saw/understood the impending end and complete degeneration of Fine art or Art become and investment nothing more than that. He predicted the bubble pops art when everybody would eventually become an artist, including dogs cats and horses, because they as kids followed the main rule: express yourself without skills or knowledge or any aesthetic concerns. J. Pollack started pouring paints onto canvases; Julian Schnabel, former cab driver from NY, suddenly decided he could do better than what he saw displayed in galleries, so he started gluing dishes on canvases; A.Warhol, an industrial artist who made commercial silk-screen for the factories he worked in, started to exhibit "Campbell's soup" used for commercial adds... and later the thing that made him an "American Idol": by copying and pasting Hollywood celebrities (same type of posters he made before for movie theaters).
When Paul Jaisini stood out against the Me culture in the US by burning all of his own 120 brilliant paintings (according to the then-new director of Fort Worth MoMa Museum, who offered hin an exhibition of his art in 1992, and later the Metropolitan Museum curator, Phillippe de Montebello, in 1994).Paul probably assumed all fellow true fine artists would join him or stand by him against corruption of the art world.
And after 20 years of his stand-off...the time has finally come today. Many artists and humanitarians around the world took a place beside him. His invisible Paintings became a synonym for the future reincarnation of fine art and long lost harmony. The establishment is in panic! The "moneybags" (as Paul Jaisini named them) are in panic, because they invested BILLIONS of dollars in real crap made by craftsmen. Now they realize that the reputation of American legends of expressionism was nothing but a copy of Russian avant-garde" Kazimir Malevich, Vasiliy Kandinsky and tens of others from France and Germany.. US tycoon investors were spending billions on "Me more original, than you". "Artist Shit" is a 1061 artwork by the Italian artist Piero Manzoni. The work consists of 90 tin cans, filled with feces. A tin can was sold for £124,000, 180,000 at Sothebys, 2007.
EPILOGUE
Before I resume promoting and admiring a very important art persona on today's international art arena, I'd like to clear up some BIG questions; people ask continuously and subconsciously, directly & indirectly: "Why does the name Paul Jaisini, flood the Internet in such "obnoxious" quantities that it's started suppressing some other activities that my friends might share with the rest of the Internet's Ego Me only Me www society? I can't just answer this... so I'll try to explain why I'm writing this: Jaisini's followers keep posting art and info about,
He IMHO the only hope in quickly decomposing visual fine art. "Paul Jaisini realized many years ago, in 1994, when he declared (at that time to himself only) the start of a New era, a New vision, that he is trying to redirect from the rat race, started by an establishment in post-war New York, long before the Internet culture.
Sub related information: Adolf Gottlieb, Mart Rothko, etc (after visiting Paris France in 1933):
"We must forget analytical art, we must express ourselves, as a 5 year old child would, without a developed consciousness. Forget about results - do what you feel, EXPRESS yourself with your own unique style"
With this statement Mark Rothko starts to teach his students, degeneration of fine art begins, and the generation of war of styles took a start signal of the material race, greatly rewarded by establishment "individual" - eccentric craftsmen - show business clowns.
Sub related Information: In the summer of 1936, Adolf Gottlieb painted more than 800 paintings, which was 20X more than he created in his whole art career as a painter, starting from the time of Gottlieb becomes a founding member of "The Ten" group in NYC "Group of Ten" was a very peculiar, enigmatic group... Based on a religious point of view;(where a human figure was prohibited from being created)
GLOSSARY
IN 1997, Paul Jaisini's best friend Ellen Y.K.Gottlieb started a cyber campaign by promoting on a very young Internet, back then, Paul Jaisini's burned paintings as Invisible Paintings, visible only through poetic essays. She and a handful of people saw his originals and were devastated that nobody could ever see them again. "We, his fans, believe that someday Paul will recreate his 120 burned paintings if he has any decency and moral obligation to his fans, who have dedicated decades to make it happen, for their Phoenix to rise from the ashes and the whole world will witness that all these years we spent to get him back to re-paint the Visuals again were not in vain," - said E.Y.K.Gottlieb in 2014 during the 20th anniversary celebration of Invisible Paintings to GIGroup in NYCity. So now, hopefully, this clears up why I and others do what we do - our "cyber terrorism" of good art, dedicated to Paul Jaisini's return, which is & and was our mission & our goal. We post good art to fight "troll art" which is worthless pics, after being passed through 1-click filters of free web apps. We are, in fact, against this www pops pollution, done with "bubble art" by the out of control masses with 5 billon pics a day: Pics of cats, memes, quotes,national geographic sunsets and waterfalls, not counting their own daily "selfies: and whatever self-indulging Me-ego-Me affairs, sponsored happily by photo gadget companies like Canon, Nikon, Sony...who churn out higher quality madness tools at lower cost.
This way Government taking away attention from the real world crisis of lowest morality & economical devastation. The masses are too easily re-engineered/manipulated by the Establishment PopsStyle delivered to them by pop music and Hollywood "super" stars. In 1992 Paul Jaisini's Gleitzeit theory predict such a massive, pops self-entertain madness, following technological explosion, but not in illusive scales.
Uber Aless @2015 NYC USA
NOTE Date's numbers and events can be slightly inaccurate.
#gleitzeit #paul-jaisini #invisible #painting #art #futurism #art-news,
OPEN LETTER TO PAUL JAISINI: “IF THERE’S GOD OR P. JAISINI
DEAR PAUL:
Please give us all hope for the new resurrection of the invisible and visible after the terror of the visual is overpowering and had removed all the essential human qualities.The visual had enslaved all human race into submission, we need the new INVISIBLE premises to be free of the visual terror to return to the DESIRE to possess to cherish. We had lost the desire with the possession of the images, of the unlimited choices. For example… I will SEE enough juice for my memory to keep me for craving it - my daily dose of the search — and the resources are vast - images of the imaginable future girlfriends I could had chosen but have no interest in… Another day of looking and processing. Same as the old girl who calls it: ALWAYS LOOKING AT AND ALWAYS JUDGING. I think I am now not a man — the visual terror had done me in. I turned into “the eyes”.
I can possess the images of so many young girls that in the end of the possession I forget my initial interest.
My voyage had one direction — I was looking for a treasure, but in the process I had forgotten all about the trip and reduced my purpose to the mere observation. I had even forgotten my normal routine and had changed personally. No longer do I want to hold the treasure. I am happy with the process. I don’t ever want to end it. And its something in my imaginable control. I can freely continue to consume the given information (the female images) as a collection of my new memory that stores these images to just process and not to choose.
FOR IMMEDIATE RELEASE
MANIFESTO GLEITZEIT 2015
BY STELLY RIESLING
Featured below is another original art work of mine in homage to THE PIONEER OF INVISIBLE ART — PAUL JAISINI. Forget all the copycats that came after him — Master Paul Jaisini was the *FIRST* of a totally original concept and the *BEST*. My favorite thing about him is that he’s a voice, not an echo, which is quite rare.
DISCLAIMER: This is for anyone who is a hater OR wishes to better understand me, what I’m all about, so you can decide whether I’m weird or normal enough for you — a kind of very loose manifesto, rushed and unrevised, full of raw uncut emotion that I don’t like to be evident in my writing as lately I prefer a more professional, formal style, so we can consider this a rough draft of the more polished writing to come when I have extra time. I might return to this text later and clean it up or break it into separate parts. Right now it’s a long-winded hot mess, so if you manage to make any sense of it, BIG PROPS TO YOU. lol …and if you manage to read it ALL, you have my solemn respect!!! in a day when reading has been reduced to just catchy headliners and short captions of images once in a while. The consequence of this one-liner internet culture is non-linear, tunnel thinking, which is baaaaaad.
There lives among us a most enigmatic and charismatic creature named Paul Jaisini who led me into the wonderful world of art, not personally, but through descriptions of his artworks in essays written and published online by his friend, which painted the most fascinating images in my mind. Early on as a kiddo, I experimented with photography, simple point and shoot whatever looked attractive to me. Digital manipulation of my photographs with computer software followed… and somehow I learned useful drawing techniques along the way to combine existing elements with nonexistent ones, which allowed me to elevate the context for my ideas. Later, I started creating my own digital art from scratch for my friends and family as a favorite pastime. They would shower me with praise and repeatedly encouraged me to share my “different” vision with the rest of the world… it took a while and wasn’t easy to overcome the insecurity of not being good enough along with a gripping fear of being harshly criticized, but one day I woman-ed up and started publishing my work on the web, reminding myself that my livelihood didn’t depend on a positive reception.
Paul Jaisini’s role in all this has been to not disgrace myself, even if what I do is just a hobby. And I would never do him and other genius artists the disservice of calling myself a professional because I know I’ll never be as good as any of the GIANTS of pre-modern history. Be the best or be nothing, no middle ground.
People’s jealousy in the past, future and present over my obsessive love of Paul Jaisini, which they are well aware is purely plutonic, has caused them to despise the man and has made many relationships/friendships impossible for me. I refuse to have such people in my life because by harboring any negativity towards Paul, they unknowingly feel that way about me and express it to me. It’s their own problem for not realizing this. Paul’s new art movement, Gleitzeit, shaped me into the allegedly awesome girl I am today, giving my art more edge, more “sexy” because it refined my vision of the world and propelled me to attain the skills necessary to not dishonor my family name through tenacious pursuit of perfection. Since the beginning of my life, I attempted to depict what I saw in visual, musical and literal forms, but continuously failed without adequate training and determination. Paul Jaisini’s Gleitzeit was the answer to my prayers. Who I am today I owe mostly to him and his selfless ideals of the artverse that I’ve given unconditional loyalty to (he has this cool ability for hyper-vision to see whole universes, not itty bitty worlds, hence I call it an artverse instead of art world, with him in mind). So again, anyone who hates Paul Jaisini hates ME because, regardless of what he means to you, he is the most important person in my life for making me ME. The way a famous actor, dancer or singer inspires others to act, dance or sing, Paul inspired me to become a better artist, better writer, better everything. More people would understand if he was a household name because they’re wired to in society. But we’re inspiring each other all the time in our own little communities without being famous, so if someone has the ability to change even ONE person’s life immensely with creativity, it is a massive achievement. And passionate folks like myself are compelled to scream it from the cyber rooftops. So here I am. It’s whatever.
Furthermore, I’d like to address here a few pressing matters in light of some recent drama brought on by both strangers and former friends. To start, I never judge the passions, interests or likes of others, which are often in my face all over the place, so likewise they have no right to judge any of mine. It is quite unfortunate and frustrating how very little understanding and education the majority of people have or want to have. Their logic is as primitive as a chipmunk when it comes to promotion of fine art on the web: “spamming, advertising, report!” It’s their own problem that they fail to understand what it’s about due to the distorted lens through which they see the world or inability to think for themselves; an inherent lack of perception or inquisitiveness. Well, guess what? Every single image, every animation, every video, every post dedicated to Mr. Paul Jaisini and “Gleitziet” (to elaborate: a revolutionary new art movement Paul founded with his partner in crime and personal friend, EYKG, who discovered him and believed in him more than anyone) has an important purpose. Every one of those things you run across is a piece of a puzzle, a move in a game, an inch down a rabbit hole; the deeper you go, the more interesting it gets; the more levels you pass, the more clues unfold, the greater the suspense and nearer the conclusion (yet further). You earn awesome rewards like enlightenment, spiritual revelations, truths, knowledge, wisdom and the most profound reward of all: the drive to improve yourself to the absolute maximum, so an unending, unshakable drive. People often make a wrong turn in this cyber game and go back a few levels or get stuck. Those that keep on pushing, however, will come to find the effort has been worth it. And what awaits you in the end of it all? The greatest challenge to beating the game: YOUR OWN MIND. You will be forced to let go of every belief you held before you had reached the last level, to completely alter your mindset and perception of the world, of life, of yourself. But by the time you’ve gotten to that point, it will be as easy as falling off a cliff! (It is a kind of suicide after all — death and rebirth of spirit.)
Paul Jaisini does NOT, *I repeat* does NOT use mystery and obscurity to his advantage as a clever marketing ploy, no, he’s too next level for that with a consciousness so rich, he should wear a radioactive warning sign (he’ll melt your brain, best wear a tinfoil hat in his presence as I certainly would.) The statement he makes is loud and clear, hidden in plain site for those who take the time to connect the dots and have enough curiosity to fuel their journey into unknown territory (an open mind and flexible perception helps a lot). Actually, anyone with an IQ above 90 is sure to figure it out sooner or later. Hint: You don’t have to SEE an extraordinary thing with your eyes to know it exists, to understand it and realize its greatness — you can only feel it in your bone marrow, your spinal fluid, your heart and soul. The moment you do figure it out, as the skeleton key of the human soul, it will unlock the greatness and massive potential buried deep within, changing the doomed direction humanity is undoubtedly headed. I don’t speak in riddles, I speak in a clear direct way that intelligent humans will understand, so I’m counting on them.
GIG is an international group of artists and writers that support Paul Jaisini’s Gleitzeit. We started off as an unofficial fan club of Jaisini in 1996, comprised of only 6 individuals spanning 3 countries, and eventually escalated in status to an official fan group across the entire globe. A decade later it had grown to hundreds of fans. Nearly another decade later, there are thousands. Let’s not leave out another delightful group of vicious haters that have been around for nearly as long as us since the late 90s and have also grown in impressive numbers. Now, for the record (and please write this one down because I’m sick of repeating myself), Paul Jaisini himself is not part of our group and has nothing to do with us. He loves and hates us equally for butchering his name and making him appear as a narcissistic nut-job in his own words. He casts hexes on us for the blinding flash we layer over the art that members contribute to GIG — “disgusting-police-lights, seizure-inducing-laser-lightshow, bourgeois-myspace-effects retarded-raver shit” in Paul’s words. Ahh, how we love his sweet-talking us. In a desperate attempt to please him, those among us who make the art and animations have spent countless hours and sleepless nights trying to solve a crazy-complex quantum-physics type of equation = how to not create tacky or tasteless content. He does fancy some of it now, we got better, that’s something! In the reason stated below, our mission just got out of hand at some point.
What little is known about Paul Jaisini, even in all this time, is he’s a horrible perfectionist who slaughtered hundreds of innocent babies — I mean — artworks of remarkable beauty created by his own right hand (mostly paintings, some watercolors and drawings). He’s a fierce recluse who wants nothing to do with anyone or anything in life. But those few of us who know of an incredible talent he possesses (one could go as far as calling it a superpower), could not allow him to live his life without the recognition he FUCKING DESERVES more than any artist out there living today and, arguably, yesterday. We use whatever means necessary to reach more people, lots of flash and razzle-dazzle to lure them into our sinister trap of a higher awareness. Mwahaha! The visual boom you’ve witnessed in both cyber and real worlds, that is GIG’s doing — two damn decades of spreading an art virus — IVA. InVisibleArtitis… or a drug as in Intravenous Art. It’s whatever you want it to be, honey.
Our Gleitzeit International Group (GIG) started off innocently enough and gradually spiraled out of control to fight the haters, annoying the hell out of them as much as humanly possible. They don’t like what we do? WE DO MORE AND MORE OF IT. But never without purpose, without a carefully executed plan in mind collectively. If we have to tolerate an endless tidal wave of everyone’s vomit — e.g., idiotic memes and comics; dumbed-down one-liner quotes; selfies; so-called “art photography” passed through one-click app filters; mindless scribbles or random splatters by regular folks who have the nerve to call themselves serious/pro artists; primitive images of pets, babies, landscapes, random objects, etc… then people sure as shit are gonna tolerate what we put out, our animated and non-animated visual art designed for our beloved master, Paul Jaisini, who has shown us the light, the right path to follow, taught us great things and done so much for us — and so in our appreciation of him, we stamp his name on everything, for the sacrifices he has made in the name of art, to save our art verse, he’s a goddamn hero. There’s a book being written in his dedication where little will be left to the imagination about him.
If Paul Jaisini was as famous as Koons or Hirst, for example, people would know it’s not him posting stuff online with his name on it but fans creating fanart like myself among others. But noooooo, such a thing is unfathomable to most people - the promotion of another artist. Like, what’s in it for us? Uhh, nothing?? This is all NON-PROFIT bitches, the way art should be. It’s a passion FIRST, a commodity/commercial product/marketable item LAST and least. Its been that way for us since the early 90s to this day. Not a single member of GIG has sold an art work (neither has Paul Jaisini who’s a true professional) and we want to keep it that way. We do it for reasons far beyond ego. So advertising? Really? How the hell do you advertise or sell thin air, you know, invisible paintings, invisible anything? Ha ha, very funny indeed. The idea here is so simple, your neighbor’s dog can grasp it. Our motives: replace fast food for the mind with fine art, actual fine art. You know, creativity? Conscious thought? Talent? Skill? Knowledge? All that good stuff rolled into one to bring viewers more than a momentary ooohand aaahh reaction. Replace the recycled images ad nauseum; repetitious, worn-out ideas; disposable, gimmicky, money-driven fast art for simpletons. Stick with the highest of ideals and save the whole bloody planet.
Fine art is often confused with craft-making. This often creates bad blood between classically trained artists who put out paintings that leave a lasting impression, that make strong conversation pieces, that are thought-provoking and deep… and trained craftspeople whose skills are adequate to create decorative pieces for homely environments — landscapes, still lifes, animals, pretty fairies, common things of fantasy, and other simplicity. Skills alone are not enough for high art, you need a vision, a purpose, the ability to tell a story with every stroke of your brush that will both fascinate and terrify the viewers, arousing powerful emotions, illuminating. I have yet to see a visible painting in my generation that does anything at all for me, other than evoke sheer outrage and disgust. What a terrible waste of space and valuable resources it all is.
Paul Jaisini leads, we follow. He wishes to remain unknown - so do most of us. I’m next in line, slipping into recluse mode, no longer wanting to attach my face, my human image to my art stuff. I wish to be a nameless, faceless artist as well, invisible like P.J., and in his footsteps I too have destroyed thousands of my own artistic photography and digital art made with tedious, labor-intensive handwork. The whole point of this destruction is achieving the finest results possible by letting go of the imperfect, purging it on a regular basis, to make way for the perfect. I love what I do so it doesn’t matter, I know I’ll keep producing as much as I’m discarding, keeping the balance. Hoarding is an enemy of progress, especially the digital kind as there’s absolutely no limit to it. It’s like carrying a load of bricks on your back you’ll never use or need.
The watering down of creativity that digital pack ratting has caused as observed over the years is most tragic. For the creative individual, relying on terabytes of stock photos or OSFAP as I call them (Once Size Fits All Photos) instead of making your own as you used to when you had no choice, being 100% original, is a splinter in the conscience. It’s not evil to use stock of, say, things you don’t have access to (outer space, deep sea, Antarctica, etc.), but many digital artists I know today can’t take their own shot of a pencil ‘cause they “ain’t got no time for that!” How did they have time before? Did time get so compressed in only a decade?
Ohhhhh, and the edits, textures, filters, plug-ins and what-have-you available out there to everyone and their cats… are responsible for the tidal wave of rubbish that eclipses the magnificent light of the real talents.
I can tell you with utmost sincerity there is no better feeling on earth than knowing your creation is ALL yours, every pixel and dot, from the first to the last. It’s not always possible to make it so, but definitely the most rewarding endeavor. I’m most proud of myself when I can accomplish that.
Back to Paul Jaisini, from the start there have been a number of theories floating around on what his real story is. One of my own theories is that he stands for the unknowns of the world who can’t get representation, can’t get exhibited at a decent gallery because highly gifted/trained artists aren’t good enough - those kind of establishments prefer bananas, balloon dogs, feces, gigantic dicks/cunts, and all kinds of what-the-fucks…
So again, you don’t get the Paul Jaisini thing? That’s your problem. Don’t hate others for getting it. People are good, very good, at making baseless assumptions and impulsively spewing it as truth. They criticize and judge as if they’re high authorities on the subject yet they clearly lack education in fine art or art history and possess little to no talent or skill to back up their bullshit. My little “credibility radar” never fails. When they say I know this or I know that, I reply don’t say “I know” or state things as fact as a general rule of thumb - instead say “I assume/believe” and state the reasons you feel thus to appear less immature, especially about a controversial topic like invisible art. I have zero respect or tolerance for egomaniacs who think they know it all and act accordingly like arrogant pricks. Who can stand those, right? Once again, a good example would be: I, Stelly Riesling, believe everything I’ve written in this little manifesto to be correct based on personal experience and observation from multiple angles, thorough research and sufficient data collected from verifiable sources (and don’t go copying-pasting my own words back at me, be original). Just because you or I say so doesn’t make it so. Just because you or me think or believe so doesn’t make it true or right. I only ask that my opinions are regarded respectfully and whoever opposes them does so in a mature, civilized manner. We should only be entitled to opinions that don’t bring out the worst in us.
I don’t normally take such a position, but the time has come to stand up for what I believe in! It’s quite amusing and comical how haters think calling me names, attacking me or my interests or members of the project I’m part of for years is going to change something. It only makes more evident the importance of what I’m doing so I push on harder still.
Words of advise to those who can identify with me, with my frustrations over people’s reluctance to change their miserable ways, with our declining art world…
DON’T waste time on people who sweat the small stuff, whose actions are consistently inconsistent with their words. DO waste time on people who always keep their eye on the ball—the bigger picture of life.
Paul Jaisini’s invisible paintings are more than hype, more than your lame assumptions. Here’s one I got that’s pure gold: a cult! It started out as A JOKE OF MINE that was used against me. I told a then-good friend that he should come join our little “art cult” in a clearly lighthearted manner, and later he takes this idea I put in his head first and accuses me of being in an (imaginary) cult—the jokes on me eh?. But wait, aren’t cults religious? Our group consists of people around the world of different faiths (or none at all) so how could that ever work? If religion was about making fine (non-pop) art mainstream and bringing awesome, fresh, futuristic concepts to the collective consciousness, the world would not be so fucked up today because talent, creativity, originality and individuality would be the main focus, not superficial poppycock; those things would be praised and encouraged and supported in society by all institutions, not demonized and stigmatized.
Here is one thing I CAN state as solid fact: only one person close to Paul Jaisini knows the TRUE story, or at least some of it: EYKG. Everything else that has ever been said about him is myth, legend, gossip, speculation, the worst of which is said by jealous non-artists (wannabes, clones, posers, hang-ons, unoriginal ppl in general) and anti-artists (religious psychos, squares, losers and -duh- stupid ppl). Sadly, people are unable to see the bigger picture by letting their egos run their lives or repeating after others as parrots.
Commercial art, consumerism, and ignorance of the masses truly makes me want to curl up in a ball, not eat or drink or move until I die, just die in my sleep while dreaming of a better world, a world where real fine artists rule it with real fine art as they used to and life is beautiful once again….
Well I hope that settled THAT for now, or perhaps inadvertently made matters worse. I hope I didn’t sound too pissed from all these issues that keep popping up like penises on ChatRoulette… just got to me already! Can you tell? I had to put my foot down, stomp ‘em all!
To be continued, still lots more ignorance and pettiness to battle… Till then peace out my bambini. MWAH!
FOR IMMEDIATE RELEASE
MANIFESTO GLEITZEIT 2015
PROLOGUE
Paul Jaisini was like a messiah, as you wish, who saw/understood the impending end and complete degeneration of Fine art or Art become and investment nothing more than that. He predicted the bubble pops art when everybody would eventually become an artist, including dogs cats and horses, because they as kids followed the main rule: express yourself without skills or knowledge or any aesthetic concerns. J. Pollack started pouring paints onto canvases; Julian Schnabel, former cab driver from NY, suddenly decided he could do better than what he saw displayed in galleries, so he started gluing dishes on canvases; A.Warhol, an industrial artist who made commercial silk-screen for the factories he worked in, started to exhibit "Campbell's soup" used for commercial adds... and later the thing that made him an "American Idol": by copying and pasting Hollywood celebrities (same type of posters he made before for movie theaters).
When Paul Jaisini stood out against the Me culture in the US by burning all of his own 120 brilliant paintings (according to the then-new director of Fort Worth MoMa Museum, who offered hin an exhibition of his art in 1992, and later the Metropolitan Museum curator, Phillippe de Montebello, in 1994).Paul probably assumed all fellow true fine artists would join him or stand by him against corruption of the art world.
And after 20 years of his stand-off...the time has finally come today. Many artists and humanitarians around the world took a place beside him. His invisible Paintings became a synonym for the future reincarnation of fine art and long lost harmony. The establishment is in panic! The "moneybags" (as Paul Jaisini named them) are in panic, because they invested BILLIONS of dollars in real crap made by craftsmen. Now they realize that the reputation of American legends of expressionism was nothing but a copy of Russian avant-garde" Kazimir Malevich, Vasiliy Kandinsky and tens of others from France and Germany.. US tycoon investors were spending billions on "Me more original, than you". "Artist Shit" is a 1061 artwork by the Italian artist Piero Manzoni. The work consists of 90 tin cans, filled with feces. A tin can was sold for £124,000, 180,000 at Sothebys, 2007.
EPILOGUE
Before I resume promoting and admiring a very important art persona on today's international art arena, I'd like to clear up some BIG questions; people ask continuously and subconsciously, directly & indirectly: "Why does the name Paul Jaisini, flood the Internet in such "obnoxious" quantities that it's started suppressing some other activities that my friends might share with the rest of the Internet's Ego Me only Me www society? I can't just answer this... so I'll try to explain why I'm writing this: Jaisini's followers keep posting art and info about,
He IMHO the only hope in quickly decomposing visual fine art. "Paul Jaisini realized many years ago, in 1994, when he declared (at that time to himself only) the start of a New era, a New vision, that he is trying to redirect from the rat race, started by an establishment in post-war New York, long before the Internet culture.
Sub related information: Adolf Gottlieb, Mart Rothko, etc (after visiting Paris France in 1933):
"We must forget analytical art, we must express ourselves, as a 5 year old child would, without a developed consciousness. Forget about results - do what you feel, EXPRESS yourself with your own unique style"
With this statement Mark Rothko starts to teach his students, degeneration of fine art begins, and the generation of war of styles took a start signal of the material race, greatly rewarded by establishment "individual" - eccentric craftsmen - show business clowns.
Sub related Information: In the summer of 1936, Adolf Gottlieb painted more than 800 paintings, which was 20X more than he created in his whole art career as a painter, starting from the time of Gottlieb becomes a founding member of "The Ten" group in NYC "Group of Ten" was a very peculiar, enigmatic group... Based on a religious point of view;(where a human figure was prohibited from being created)
GLOSSARY
IN 1997, Paul Jaisini's best friend Ellen Y.K.Gottlieb started a cyber campaign by promoting on a very young Internet, back then, Paul Jaisini's burned paintings as Invisible Paintings, visible only through poetic essays. She and a handful of people saw his originals and were devastated that nobody could ever see them again. "We, his fans, believe that someday Paul will recreate his 120 burned paintings if he has any decency and moral obligation to his fans, who have dedicated decades to make it happen, for their Phoenix to rise from the ashes and the whole world will witness that all these years we spent to get him back to re-paint the Visuals again were not in vain," - said E.Y.K.Gottlieb in 2014 during the 20th anniversary celebration of Invisible Paintings to GIGroup in NYCity. So now, hopefully, this clears up why I and others do what we do - our "cyber terrorism" of good art, dedicated to Paul Jaisini's return, which is & and was our mission & our goal. We post good art to fight "troll art" which is worthless pics, after being passed through 1-click filters of free web apps. We are, in fact, against this www pops pollution, done with "bubble art" by the out of control masses with 5 billon pics a day: Pics of cats, memes, quotes, national geographic sunsets and waterfalls, not counting their own daily selfies and whatever self-indulging Me-ego-Me affairs, sponsored happily by photo gadget companies like Canon, Nikon, Sony...who churn out higher quality madness tools at lower cost.
This way Government taking away attention from the real world crisis of lowest morality & economical devastation. The masses are too easily re-engineered/manipulated by the Establishment PopsStyle delivered to them by pop music and Hollywood "super" stars. In 1992 Paul Jaisini's Gleitzeit theory predict such a massive, pops self-entertain madness, following technological explosion, but not in illusive scales.
Uber Aless @2015 NYC USA
NOTE Date's numbers and events can be slightly inaccurate.
#gleitzeit #paul-jaisini #invisible #painting #art #futurism #art-news,
OPEN LETTER TO PAUL JAISINI: “IF THERE’S GOD OR P. JAISINI
DEAR PAUL:
Please give us all hope for the new resurrection of the invisible and visible after the terror of the visual is overpowering and had removed all the essential human qualities. The visual had enslaved all human race into submission, we need the new INVISIBLE premises to be free of the visual terror to return to the DESIRE to possess to cherish. We had lost the desire with the possession of the images, of the unlimited choices. For example… I will SEE enough juice for my memory to keep me for craving it - my daily dose of the search — and the resources are vast - images of the imaginable future girlfriends I could had chosen but have no interest in… Another day of looking and processing. Same as the old girl who calls it: ALWAYS LOOKING AT AND ALWAYS JUDGING. I think I am now not a man — the visual terror had done me in. I turned into “the eyes”.
I can possess the images of so many young girls that in the end of the possession I forget my initial interest.
My voyage had one direction — I was looking for a treasure, but in the process I had forgotten all about the trip and reduced my purpose to the mere observation. I had even forgotten my normal routine and had changed personally. No longer do I want to hold the treasure. I am happy with the process. I don’t ever want to end it. And its something in my imaginable control. I can freely continue to consume the given information (the female images) as a collection of my new memory that stores these images to just process and not to choose.
Delineation in C K does not separate images from the background. In this painting images seem to adhere to the grainy cave-like texture.The choice of imagery leads to guess the painting’s meaning as if a fleeting memory-flash with a load of images from the past life that turns into a cluster of events. A baby blows a pipe; its contour line to the contrary depicts a silhouette of an aged hairless personage whose twisted limbs gravitate to the ground. In the center of composition there is a female looking up at a bird while a profile forms out of her body line; the man’s head that is divided by pastel colors; blue of skull, rose of arched brows, slightly more red on aquiline nose, that disperses in violet on the chin accented by the dark areas of a suit’s collar. The man’s phallic finger touches a sitting woman with legs spread apart in the lower part of the picture.
pauljaisinifacts.wordpress.com/2014/07/28/was-this-essay-...
here’s no point in that because it’s so personal no one would understand and people would call me crazy and stuff. it’s very deep (no pun) and requires people to have a mind as open as possible, open to the max. I haven’t met a person like that yet so there is no point in me trying to explain because everyone is the same. these are very visual works as you can see, I try to make them as visual as possible to minimize the verbal nonsense. it is what it is, water, female figures, floating elegance, this isn’t rocket science; I don’t create things at such a scientific level of needing to explain them in minute detail or at all. the way a person interprets art or wants to interpret it is EXACTLY what it’s about, how it was designed to be, the viewers make art out of art, not the artists
Paul Jaisini Said:
The Contemporary craftsmakers AKA artists don’t know how to do fine art, but the “super intellectuals” an the “money bags”do know how to do the virgin brains. I call it Art of Witchcraft. Paul Jaisin
Paul Jaisini:
Don’t flatter yourself . There is no such a thing as computer art. Computer programming…maybe, but not an art.
Paul Jaisini: Hello Barbara Rosenthal, u r always welcome. Philosophy is just clever disguised mental illness I don’t want 2 get into discussion about this topic & support & promote this idea in-general. Kids, who gonna pay 4 our philosophical games. Computer was designed to do multitasking — not humans. Digital-dead end 4 the FINE ARTS. After all why do I care about visual shit… I’m creating Invisible paintings for over 19 years now, and my tool is my very visible brush.
MONDAY FUN READ! THE drunken muse
The story "Drunken Muse" was audio recorded on a hidden voice recorder during the conversations about two decades ago. The story-teller didn't know or consent to the recording. The audio tapes on compact cassettes were never used. The records were partially damaged and lost. www.slideshare.net/PaulJaisini/drunken-muse
FOR IMMEDIATE RELEASE
MANIFESTO GLEITZEIT 2015
BY STELLY RIESLING
Featured below is another original art work of mine in homage to THE PIONEER OF INVISIBLE ART — PAUL JAISINI. Forget all the copycats that came after him — Master Paul Jaisini was the *FIRST* of a totally original concept and the *BEST*. My favorite thing about him is that he’s a voice, not an echo, which is quite rare.
DISCLAIMER: This is for anyone who is a hater OR wishes to better understand me, what I’m all about, so you can decide whether I’m weird or normal enough for you — a kind of very loose manifesto, rushed and unrevised, full of raw uncut emotion that I don’t like to be evident in my writing as lately I prefer a more professional, formal style, so we can consider this a rough draft of the more polished writing to come when I have extra time. I might return to this text later and clean it up or break it into separate parts. Right now it’s a long-winded hot mess, so if you manage to make any sense of it, BIG PROPS TO YOU. lol …and if you manage to read it ALL, you have my solemn respect!!! in a day when reading has been reduced to just catchy headliners and short captions of images once in a while. The consequence of this one-liner internet culture is non-linear, tunnel thinking, which is baaaaaad.
There lives among us a most enigmatic and charismatic creature named Paul Jaisini who led me into the wonderful world of art, not personally, but through descriptions of his artworks in essays written and published online by his friend, which painted the most fascinating images in my mind. Early on as a kiddo, I experimented with photography, simple point and shoot whatever looked attractive to me. Digital manipulation of my photographs with computer software followed… and somehow I learned useful drawing techniques along the way to combine existing elements with nonexistent ones, which allowed me to elevate the context for my ideas. Later, I started creating my own digital art from scratch for my friends and family as a favorite pastime. They would shower me with praise and repeatedly encouraged me to share my “different” vision with the rest of the world… it took a while and wasn’t easy to overcome the insecurity of not being good enough along with a gripping fear of being harshly criticized, but one day I woman-ed up and started publishing my work on the web, reminding myself that my livelihood didn’t depend on a positive reception.
Paul Jaisini’s role in all this has been to not disgrace myself, even if what I do is just a hobby. And I would never do him and other genius artists the disservice of calling myself a professional because I know I’ll never be as good as any of the GIANTS of pre-modern history. Be the best or be nothing, no middle ground.
People’s jealousy in the past, future and present over my obsessive love of Paul Jaisini, which they are well aware is purely plutonic, has caused them to despise the man and has made many relationships/friendships impossible for me. I refuse to have such people in my life because by harboring any negativity towards Paul, they unknowingly feel that way about me and express it to me. It’s their own problem for not realizing this. Paul’s new art movement, Gleitzeit, shaped me into the allegedly awesome girl I am today, giving my art more edge, more “sexy” because it refined my vision of the world and propelled me to attain the skills necessary to not dishonor my family name through tenacious pursuit of perfection. Since the beginning of my life, I attempted to depict what I saw in visual, musical and literal forms, but continuously failed without adequate training and determination. Paul Jaisini’s Gleitzeit was the answer to my prayers. Who I am today I owe mostly to him and his selfless ideals of the artverse that I’ve given unconditional loyalty to (he has this cool ability for hyper-vision to see whole universes, not itty bitty worlds, hence I call it an artverse instead of art world, with him in mind). So again, anyone who hates Paul Jaisini hates ME because, regardless of what he means to you, he is the most important person in my life for making me ME. The way a famous actor, dancer or singer inspires others to act, dance or sing, Paul inspired me to become a better artist, better writer, better everything. More people would understand if he was a household name because they’re wired to in society. But we’re inspiring each other all the time in our own little communities without being famous, so if someone has the ability to change even ONE person’s life immensely with creativity, it is a massive achievement. And passionate folks like myself are compelled to scream it from the cyber rooftops. So here I am. It’s whatever.
Furthermore, I’d like to address here a few pressing matters in light of some recent drama brought on by both strangers and former friends. To start, I never judge the passions, interests or likes of others, which are often in my face all over the place, so likewise they have no right to judge any of mine. It is quite unfortunate and frustrating how very little understanding and education the majority of people have or want to have. Their logic is as primitive as a chipmunk when it comes to promotion of fine art on the web: “spamming, advertising, report!” It’s their own problem that they fail to understand what it’s about due to the distorted lens through which they see the world or inability to think for themselves; an inherent lack of perception or inquisitiveness. Well, guess what? Every single image, every animation, every video, every post dedicated to Mr. Paul Jaisini and “Gleitziet” (to elaborate: a revolutionary new art movement Paul founded with his partner in crime and personal friend, EYKG, who discovered him and believed in him more than anyone) has an important purpose. Every one of those things you run across is a piece of a puzzle, a move in a game, an inch down a rabbit hole; the deeper you go, the more interesting it gets; the more levels you pass, the more clues unfold, the greater the suspense and nearer the conclusion (yet further). You earn awesome rewards like enlightenment, spiritual revelations, truths, knowledge, wisdom and the most profound reward of all: the drive to improve yourself to the absolute maximum, so an unending, unshakable drive. People often make a wrong turn in this cyber game and go back a few levels or get stuck. Those that keep on pushing, however, will come to find the effort has been worth it. And what awaits you in the end of it all? The greatest challenge to beating the game: YOUR OWN MIND. You will be forced to let go of every belief you held before you had reached the last level, to completely alter your mindset and perception of the world, of life, of yourself. But by the time you’ve gotten to that point, it will be as easy as falling off a cliff! (It is a kind of suicide after all — death and rebirth of spirit.)
Paul Jaisini does NOT, *I repeat* does NOT use mystery and obscurity to his advantage as a clever marketing ploy, no, he’s too next level for that with a consciousness so rich, he should wear a radioactive warning sign (he’ll melt your brain, best wear a tinfoil hat in his presence as I certainly would.) The statement he makes is loud and clear, hidden in plain site for those who take the time to connect the dots and have enough curiosity to fuel their journey into unknown territory (an open mind and flexible perception helps a lot). Actually, anyone with an IQ above 90 is sure to figure it out sooner or later. Hint: You don’t have to SEE an extraordinary thing with your eyes to know it exists, to understand it and realize its greatness — you can only feel it in your bone marrow, your spinal fluid, your heart and soul. The moment you do figure it out, as the skeleton key of the human soul, it will unlock the greatness and massive potential buried deep within, changing the doomed direction humanity is undoubtedly headed. I don’t speak in riddles, I speak in a clear direct way that intelligent humans will understand, so I’m counting on them.
GIG is an international group of artists and writers that support Paul Jaisini’s Gleitzeit. We started off as an unofficial fan club of Jaisini in 1996, comprised of only 6 individuals spanning 3 countries, and eventually escalated in status to an official fan group across the entire globe. A decade later it had grown to hundreds of fans. Nearly another decade later, there are thousands. Let’s not leave out another delightful group of vicious haters that have been around for nearly as long as us since the late 90s and have also grown in impressive numbers. Now, for the record (and please write this one down because I’m sick of repeating myself), Paul Jaisini himself is not part of our group and has nothing to do with us. He loves and hates us equally for butchering his name and making him appear as a narcissistic nut-job in his own words. He casts hexes on us for the blinding flash we layer over the art that members contribute to GIG — “disgusting-police-lights, seizure-inducing-laser-lightshow, bourgeois-myspace-effects retarded-raver shit” in Paul’s words. Ahh, how we love his sweet-talking us. In a desperate attempt to please him, those among us who make the art and animations have spent countless hours and sleepless nights trying to solve a crazy-complex quantum-physics type of equation = how to not create tacky or tasteless content. He does fancy some of it now, we got better, that’s something! In the reason stated below, our mission just got out of hand at some point.
What little is known about Paul Jaisini, even in all this time, is he’s a horrible perfectionist who slaughtered hundreds of innocent babies — I mean — artworks of remarkable beauty created by his own right hand (mostly paintings, some watercolors and drawings). He’s a fierce recluse who wants nothing to do with anyone or anything in life. But those few of us who know of an incredible talent he possesses (one could go as far as calling it a superpower), could not allow him to live his life without the recognition he FUCKING DESERVES more than any artist out there living today and, arguably, yesterday. We use whatever means necessary to reach more people, lots of flash and razzle-dazzle to lure them into our sinister trap of a higher awareness. Mwahaha! The visual boom you’ve witnessed in both cyber and real worlds, that is GIG’s doing — two damn decades of spreading an art virus — IVA. InVisibleArtitis… or a drug as in Intravenous Art. It’s whatever you want it to be, honey.
Our Gleitzeit International Group (GIG) started off innocently enough and gradually spiraled out of control to fight the haters, annoying the hell out of them as much as humanly possible. They don’t like what we do? WE DO MORE AND MORE OF IT. But never without purpose, without a carefully executed plan in mind collectively. If we have to tolerate an endless tidal wave of everyone’s vomit — e.g., idiotic memes and comics; dumbed-down one-liner quotes; selfies; so-called “art photography” passed through one-click app filters; mindless scribbles or random splatters by regular folks who have the nerve to call themselves serious/pro artists; primitive images of pets, babies, landscapes, random objects, etc… then people sure as shit are gonna tolerate what we put out, our animated and non-animated visual art designed for our beloved master, Paul Jaisini, who has shown us the light, the right path to follow, taught us great things and done so much for us — and so in our appreciation of him, we stamp his name on everything, for the sacrifices he has made in the name of art, to save our art verse, he’s a goddamn hero. There’s a book being written in his dedication where little will be left to the imagination about him.
If Paul Jaisini was as famous as Koons or Hirst, for example, people would know it’s not him posting stuff online with his name on it but fans creating fanart like myself among others. But noooooo, such a thing is unfathomable to most people - the promotion of another artist. Like, what’s in it for us? Uhh, nothing?? This is all NON-PROFIT bitches, the way art should be. It’s a passion FIRST, a commodity/commercial product/marketable item LAST and least. Its been that way for us since the early 90s to this day. Not a single member of GIG has sold an art work (neither has Paul Jaisini who’s a true professional) and we want to keep it that way. We do it for reasons far beyond ego. So advertising? Really? How the hell do you advertise or sell thin air, you know, invisible paintings, invisible anything? Ha ha, very funny indeed. The idea here is so simple, your neighbor’s dog can grasp it. Our motives: replace fast food for the mind with fine art, actual fine art. You know, creativity? Conscious thought? Talent? Skill? Knowledge? All that good stuff rolled into one to bring viewers more than a momentary ooohand aaahh reaction. Replace the recycled images ad nauseum; repetitious, worn-out ideas; disposable, gimmicky, money-driven fast art for simpletons. Stick with the highest of ideals and save the whole bloody planet.
Fine art is often confused with craft-making. This often creates bad blood between classically trained artists who put out paintings that leave a lasting impression, that make strong conversation pieces, that are thought-provoking and deep… and trained craftspeople whose skills are adequate to create decorative pieces for homely environments — landscapes, still lifes, animals, pretty fairies, common things of fantasy, and other simplicity. Skills alone are not enough for high art, you need a vision, a purpose, the ability to tell a story with every stroke of your brush that will both fascinate and terrify the viewers, arousing powerful emotions, illuminating. I have yet to see a visible painting in my generation that does anything at all for me, other than evoke sheer outrage and disgust. What a terrible waste of space and valuable resources it all is.
Paul Jaisini leads, we follow. He wishes to remain unknown - so do most of us. I’m next in line, slipping into recluse mode, no longer wanting to attach my face, my human image to my art stuff. I wish to be a nameless, faceless artist as well, invisible like P.J., and in his footsteps I too have destroyed thousands of my own artistic photography and digital art made with tedious, labor-intensive handwork. The whole point of this destruction is achieving the finest results possible by letting go of the imperfect, purging it on a regular basis, to make way for the perfect. I love what I do so it doesn’t matter, I know I’ll keep producing as much as I’m discarding, keeping the balance. Hoarding is an enemy of progress, especially the digital kind as there’s absolutely no limit to it. It’s like carrying a load of bricks on your back you’ll never use or need.
The watering down of creativity that digital pack ratting has caused as observed over the years is most tragic. For the creative individual, relying on terabytes of stock photos or OSFAP as I call them (Once Size Fits All Photos) instead of making your own as you used to when you had no choice, being 100% original, is a splinter in the conscience. It’s not evil to use stock of, say, things you don’t have access to (outer space, deep sea, Antarctica, etc.), but many digital artists I know today can’t take their own shot of a pencil ‘cause they “ain’t got no time for that!” How did they have time before? Did time get so compressed in only a decade?
Ohhhhh, and the edits, textures, filters, plug-ins and what-have-you available out there to everyone and their cats… are responsible for the tidal wave of rubbish that eclipses the magnificent light of the real talents.
I can tell you with utmost sincerity there is no better feeling on earth than knowing your creation is ALL yours, every pixel and dot, from the first to the last. It’s not always possible to make it so, but definitely the most rewarding endeavor. I’m most proud of myself when I can accomplish that.
Back to Paul Jaisini, from the start there have been a number of theories floating around on what his real story is. One of my own theories is that he stands for the unknowns of the world who can’t get representation, can’t get exhibited at a decent gallery because highly gifted/trained artists aren’t good enough - those kind of establishments prefer bananas, balloon dogs, feces, gigantic dicks/cunts, and all kinds of what-the-fucks…
So again, you don’t get the Paul Jaisini thing? That’s your problem. Don’t hate others for getting it. People are good, very good, at making baseless assumptions and impulsively spewing it as truth. They criticize and judge as if they’re high authorities on the subject yet they clearly lack education in fine art or art history and possess little to no talent or skill to back up their bullshit. My little “credibility radar” never fails. When they say I know this or I know that, I reply don’t say “I know” or state things as fact as a general rule of thumb - instead say “I assume/believe” and state the reasons you feel thus to appear less immature, especially about a controversial topic like invisible art. I have zero respect or tolerance for egomaniacs who think they know it all and act accordingly like arrogant pricks. Who can stand those, right? Once again, a good example would be: I, Stelly Riesling, believe everything I’ve written in this little manifesto to be correct based on personal experience and observation from multiple angles, thorough research and sufficient data collected from verifiable sources (and don’t go copying-pasting my own words back at me, be original). Just because you or I say so doesn’t make it so. Just because you or me think or believe so doesn’t make it true or right. I only ask that my opinions are regarded respectfully and whoever opposes them does so in a mature, civilized manner. We should only be entitled to opinions that don’t bring out the worst in us.
I don’t normally take such a position, but the time has come to stand up for what I believe in! It’s quite amusing and comical how haters think calling me names, attacking me or my interests or members of the project I’m part of for years is going to change something. It only makes more evident the importance of what I’m doing so I push on harder still.
Words of advise to those who can identify with me, with my frustrations over people’s reluctance to change their miserable ways, with our declining art world…
DON’T waste time on people who sweat the small stuff, whose actions are consistently inconsistent with their words. DO waste time on people who always keep their eye on the ball—the bigger picture of life.
Paul Jaisini’s invisible paintings are more than hype, more than your lame assumptions. Here’s one I got that’s pure gold: a cult! It started out as A JOKE OF MINE that was used against me. I told a then-good friend that he should come join our little “art cult” in a clearly lighthearted manner, and later he takes this idea I put in his head first and accuses me of being in an (imaginary) cult—the jokes on me eh?. But wait, aren’t cults religious? Our group consists of people around the world of different faiths (or none at all) so how could that ever work? If religion was about making fine (non-pop) art mainstream and bringing awesome, fresh, futuristic concepts to the collective consciousness, the world would not be so fucked up today because talent, creativity, originality and individuality would be the main focus, not superficial poppycock; those things would be praised and encouraged and supported in society by all institutions, not demonized and stigmatized.
Here is one thing I CAN state as solid fact: only one person close to Paul Jaisini knows the TRUE story, or at least some of it: EYKG. Everything else that has ever been said about him is myth, legend, gossip, speculation, the worst of which is said by jealous non-artists (wannabes, clones, posers, hang-ons, unoriginal ppl in general) and anti-artists (religious psychos, squares, losers and -duh- stupid ppl). Sadly, people are unable to see the bigger picture by letting their egos run their lives or repeating after others as parrots.
Commercial art, consumerism, and ignorance of the masses truly makes me want to curl up in a ball, not eat or drink or move until I die, just die in my sleep while dreaming of a better world, a world where real fine artists rule it with real fine art as they used to and life is beautiful once again….
Well I hope that settled THAT for now, or perhaps inadvertently made matters worse. I hope I didn’t sound too pissed from all these issues that keep popping up like penises on ChatRoulette… just got to me already! Can you tell? I had to put my foot down, stomp ‘em all!
To be continued, still lots more ignorance and pettiness to battle… Till then peace out my bambini. MWAH!
Marble Lady
Oil painting on linen Plywood support SignedW x H (“) 30 x 36 Early Period
In his art, Jaisini insists on overcoming of the dehumanization and the suppression of sensuality.
In every historical period there are ideas and problems that are expressed but will not come to pass.
Jaisini seeks to identify this idea in the present, excavate it from the past, and invent it in a new way for the future.
In the murky, anxious world of ours, in the midst of the soul's confusions and multiplying moral losses, the artist seeks and always finds some big and small islands of eternal truths, and asserts the indestructible age-long parables that reveal these truths in the new light, in his own system of sign-images.
I realized that the more you look at "Gleitzeit" works and think, the more you see, feel, and understand—but never completely, as the works always have too many aspects for anyone to fully comprehend.
There is always some kind of "space" in the painting, in which the observer feels free, without a persistent prompting of the artist, to use his own system of perception.
To me, "Marble Lady" seems a late modern modification of the Greek myth of the sculptor Pygmalion, who used his illusionist skill to satisfy a private fantasy of the ideal woman.
Disappointed by the imperfections of the opposite sex, he created Galatea out of marble. During a festival in honor of Venus, Pygmalion prayed for a woman as perfect as his statue. Venus answered his prayer by bringing his statue to life and eliminating the boundary between reality and illusion.
In Jaisini's "Marble Lady," the object of the intense desire remains alluring, yet perpetually distant. Desire of the others is often imagined in terms of a fetish. So-called civilized man can be considered in light of his delight of the female form. In "Marble Lady," we find the two types of spectatorship: the masculine and the non-masculine. Therefore, an image of the woman is defined through the desire of spectators, the unmanly poet and the savage who may well be a subscriber to "Penis Power Quarterly."
The statue of Galatea was, and still is, the symbol of fictional perfection, a result of the search for an ideal woman that parallels the artist's own creative urge. A post-feminist culture has found a way to reinvent the woman as she once was: eager to appear attractive again.
"Marble Lady" enables male domination by being unreachable and desirable. The construction of such a female identity fiction can inspire both high and low natures. In all of his works, Jaisini unites the high and low principles, integrating art into the material life, breaking out of art's ivory tower. "Marble Lady" is a compact, pyramidal composition of the "trio."
As in all of his works, Jaisini subdues the figures to the articulation of line and its rhythmic connection between forms in space—a sort of analytical process based on the line swinging which inspires up ideas, shapes, and colors.
These line arabesques are the highly individual textures of Jaisini's art.
A decorative role of the painting's color is to illustrate the temperature contrast between the heated environment and the marble-cold statue.
In modern and postmodern times, there are increasingly fewer outlets for the sensual urges and desires that lay at the origin of human society that imposes restrictions. Sexuality remained beyond the scope of most art history.
Interaction between male and female is still responsible for the continued functioning of the universe.
PROLOGUE
Paul Jaisini was like a messiah, as you wish, who saw/understood the impending
end and complete degeneration of Fine art or Art become and investment nothing
more than that. He predicted the bubble pops art when everybody would
eventually become an artist, including dogs cats and horses, because they as
kids followed the main rule: express yourself without skills or knowledge or
any aesthetic concerns.
J. Pollack started pouring paints onto canvases; Julian Schnabel, former cab
driver from NY, suddenly decided he could do better than what he saw
displayed in galleries, so he started gluing dishes on canvases;
A.Warhol, an industrial artist who made commercial silk-screen for the
factories he worked in, started to exhibit "Campbell's soup" used for
commercial adds... and later the thing that made him an "American Idol": by
copying and pasting Hollywood celebrities (same type of posters he made before
for movie theaters).
When Paul Jaisini stood out against the Me culture in the US by burning all of
his own 120 brilliant paintings (according to the then-new director of Fort
Worth MoMa Museum, who offered him an exhibition of his art in 1992, and later
the Metropolitan Museum curator, Phillippe de Montebello, in 1994).
Paul probably assumed all fellow true fine artists would join him or stand by
him against corruption of the art world.
And after 20 years of his stand-off...
the time has finally come today. Many artists and humanitarians around the
world took a place beside him.
His invisible Paintings became a synonym for the future reincarnation of fine
art and long lost harmony.
The establishment is in panic! The "moneybags" (as Paul Jaisini named them)
are in panic, because they invested BILLIONS of dollars in real crap made by
craftsmen. Now they realize that the reputation of American legends of
expressionism was nothing but a copy of Russian avant-garde" Kazimir Malevich,
Vasiliy Kandinsky and tens of others from France and Germany..
US tycoon investors were spending billions on "Me more original, than you".
"Artist Shit" is a 1061 artwork by the Italian artist Piero Manzoni. The work
consists of 90 tin cans, filled with feces. A tin can was sold for £124,000, 180,000 at Sothebys, 2007.
cat lego legocat catwoman tiger gifeffect artphoto creativeimage amazingart pink opticalcat hypnocat pauljaisini gleitzeit glitter detail manifesto photography jaisini diamond beads decor decorative genius prophet prophecies art robot catrobot cattoy toy star opart opticalillusion colorful star painting wallpaper design glitter glam enhanced beautiful saturation effect design fantastic photo picture collage futuristic metal space alien robot lego legorobot legogame legoart zebraprint zebragif backgound
heart glitter sparkles sparkle crystal crystals transparent layers elaborated artistic glass bubbles effects letters created inspired unusual design blue purple pink neon aqua jewel beads toy gem jewel rock crystals ornamental beautiful author rare unique coloring colors rainbow butterfly silver paper JEWELS DOTS
And with advance to REALITY COPY there’s certainly no way of changing this perception only enforcing it, nothing in reality is good enough for “REALITY COPY” that is just another paradox that is not futuristic.
We might be still skeptical about the arrival of REALITY COPY, but its only before its sold at the supermarkets.
What would happen after “Reality Copy” when the progress of all possible levels of true “reality copy” (in technical sense, not psychologically-philosophical) are achieved. The reality hence is copied and sealed.
Technology won’t stop there… one wonders. What is next.
In political sense when reality in representation is something embraced by conservative social power than with “reality copy” the conservative power is the dominating from the social point of view having new level of reality and it’s copy to be controlled.
*seems like the only possibly alternative to REALITY COPY could be ultra radical Invisibility)
In principle the artist aims to deform the reality subjectively to create not the “reality copy” lacking such skills but to convey the artistic poetic goal of expressing whatever given artist wants to express.
In a matter of “reality copy” what is left for the artist to argue with and deform… to question and test… Nothing really changes socially except for more pressure applied to the issue of dealing with self-image and tools to “sell” When a person changes the image the higher the technology the more transformed is the final product.
The progress of mental growth is just as conservative as control on the “visual image of reality” and its copy.
The ongoing technological progress is irreversible as it carries percent of good with bad,
It is common knowledge how for instance internet is benefit and at the same time does damage. A person who knows about the addiction and suffers would acquire the knowledge and hope from the place the person suffers the internet of course.
Same thing is with photography and video. Reality copy would add more psychological problems to the present but create more visual attraction of true-life experience with whatever could be rediscovered in Lifecopy style. Probably is benefits pornography since it will continue same as consumption of food. The basic things… Consumerism benefits since it is super-trained for “instant reach” affect and will commercially exploit the “reality copy” to sell more of “reality copy” gadgets the phones, screens, etc.
New generation of people will repeat the cycle in new technological means of having “reality copy” as nothing new but similar to any visual information currently available.
The creative people are the ones BEHIND the time it seems in a matter of “reality copy” and being unable to have anything is an alternative.
The Invisible alternative is the ONLY ONE to question “reality copy”
That is the power of UNKNOWN.
Techno progress can deal in “reality” bringing higher resolution to the fore to sell new generation of phones and gadgets.
But it really doesn’t change the philosophical issue of questions asked by philosophers, what is life, what is art, why do we live. Questions remain unanswered when techno progress veils those questions with the promise that higher technology would bring the end to all unanswered questions and answer them for people.
So far the techno advance puts the artistic, literary and philosophical field out of business. As when people get the toys (gadgets) and the playground (the podium of internet) the art is irrelevant and completely disconnected from the social phenomenon of self-representation. Art is not interested to question something with no philosophical substance to it.
The commercial art is willing to supply more stuff for consumerism. If its reality-copy than someone empowered by financial wealth (born rich) would come up with more decorative solutions that could serve REALITY COPY in needed fashion, add more details to the “reality set” to those who can afford it.
Same way it is now when people with means live with more things.
“Reality Copy” of people without means would look just as it is in reality, gray and unexciting. To help people without means the software would offer “decoration” solutions to add the faux details able to transform the surroundings to less depressing. It would enter the person into “life copy” of vacation at Caribbean resorts… etc.
What in such situation could be philosophically questioned, if nothing changed in human morality, but techno advance manage to involve people into self-entertainment to such degree that a person is no longer interested to read books about other people or watch movies and hear news. Self-promotion is the ongoing and time-consuming thing. One has to research the “popular” topics.
As to participating in reality activities, there’s the issue of not having time for anything that doesn’t deal with self-promotion and earning a living.
ART commerce is growing commercially going Industrial since supplying consumer goods is always rewarding in sales. On the other hand this and techno revolution reduces interest of writers and philosophers to dig in depths where there is no depth. It makes such people disengaged with the process. When there are no critical voices to the established situation or some few art critics pretend to do what is expected of them – know about current situation not only on the art scene but at large - socially, and have strong voice against the trends that contribute to the lowering of culture. There’s no more liberal freedom since nobody reads the newspapers. Even if the working critics were principal enough to write articles and books they know their voice would not be heard. They are not vociferous about anything at all because there’s a concept of supporting and art endavour since art is in decline and anything that relates to art needs their support.
There are no voices to oppose the current situation for many reasons such as no younger people would be interested in such undertaking also for many reasons of being disoriented in expectation of techno changes or living their me-life.
The young ones are the invisibility movers, every day someone who is young, information and internet savvy adds the invisibility statement to their online identity. I saw it on tumblr and Iheart. (samples year web address – source)
Art consumer goods sell and make the seller get the goods since sale is the rule.
Art critics silently agree and actually it seems if they even try to disagree there is nothing in art that presently shows any direction against the established art situation.
There isn’t anything not saying a serious claim to deny aesthetic values of the art present and past, to turn away from any influence and history by the fashion avant-garde to question than resuscitate (bring back from death) art that lost vitality and practically is a dead art of dominating taste in an authoritarian culture and conformity.
Bring new blood to reinvent the art into weapon against the outlived old and positioning itself as direct opposition AGAINST art that represents culture of the present time.
Culture of consumerism that turned into visual consumerism with the help of internet is hard to oppose and challenge in any attempt of making bid public art spectacle, won’t challenge any concept but serve certain need for entertainment.
Invisible art of Paul Jaisini stands against all that is dominating and culturally regressive in the present, false visual multiplicity that imply democracy and absence of segregation in visual sphere, all inclusiveness.
On so many levels Paul Jaisini brings knowledge of how the present condition reflect on a mind. (non-linear thinking, information processing, constant analysis is the advanced state of high analytical creative mind /osd, adad is the side effect but there are more worse side effects) Shows the burst to create in manifestation of genius mind (can do any task without training) but unable to maintain the creative process as wholesome, bored with the immediate results. Invisibility is theoretical stability and result of high impact activity that gives fast result of creativity and genius realized in art. Then instability in the fact of the created art un--preserved and lost, destroyed.
On a lower level of people who start building some blog with enthusiasm dedicating time, research than abandoning it to become digital graveyard demonstrates inability to continue and search for new. Inability to face what yesterday seemed interesting and capture someone’s mind to give the creative boost.
(fast life, no sleep, high tech knowledge, constant search for new, unsatisfied… new is old – altogether supports “CONSUMERISM” when buying is haul more than physically needed, quantity is the need for new.
Invisible art as a concept seem to attract wide public and elite in such diametrically opposed combination, of people without high aesthetics in mind or the complete opposite illuminati-culturati. People with average or below average taste and aesthetic requirements are as interested and supportive as the elite. When it comes to someone in the middle- another phenomena, quite often those who are educated and intelligent take a stand against even one mention of the art being possibly somehow invisible.
These people respond very well and willing to agree with the concept as Invisible art is brought to them by mass media. In the beginning I was using internet to send out essays and saw the proof that as avant-garde wanted to reach people who never acquired artistically developed taste the invisible art was and now is more than ever suits their taste even to degree of obsession.
That’s adds insult to injury when nobody even pay attention and there’s nothing to offer as the alternative.
They want something tangible as the alternative, the grown philosophy to brew in the minds of people and artists as the sign of time.
The invisibility is the idea that has the power to antagonize the “reality copy” but not in a sense that is widely used in the present time. To express social isolation in case of the teens as seen on tumblr. (examples and variations of Invisibility trend in primitive pictures shared every day in such huge quantities no art publication ever knew, teens and pre-teens are those with passion among the rest of us, when they spread the word it goes far, same as the early internet time, when the word would go far distances to large number of people)
Historically known of the episodes when many artists tried to create the so-called invis art but it really didn’t involve much creativity except for the concepts they came up with, but in reality it involved the reduction of visual means and performance art when the audience came up with more ideas acting around the non-existent artwork than the artist.
Personally I discovered high interactive value of the “PRESUMED” invisible painting when I was getting a lot of responses with very interesting commentaries from the people who actually insisted I was sending them info about the invisible artworks. I never made any claims when sending written essays. People decided for me and probably this is the best way for the interactive dialogue to let people decide.
The only known versions of invisible artworks would be not something that can turn into a philosophical school of thought but random reductions of visual means of various artists. It all came to same MOA that involved frames etc., not the process of creativity or life long creativity that would show how such artistic philosophy develops and what various periods of the artist’s life produce by his belief in his artistic style.
The known precedents of exhibiting so-called invisible art were always random statements that never continued to develop in a distinct style.
What one usually expects is a blank canvas, a picture with some written ideas which is more a topography art, a picture that is in a wrapping of covered up and is a found object art. The only known artists who continued wrapping is Christo but his art is not considered invisible even though he hides or attempts to hide what is inside the wrapping….
Recently same as in more distant periods in time many artists are trying to reduce their visual means. There’s a difference though. In previous times artists ventured into reduction of visual means with more ease. The artworks from older times with reduced visual means had much less labor and look less worked on.
Now the reduction of visual means is something that doesn’t fall under the artistic philosophy when an artists trying to prevent an overkill of the visual imagery.
If Rothko worked on his abstract painting laboriously than in current standards his work would be considered not sale’s worthy. Now to be sale-worthy the abstraction is worked to show a lot of workmanship. Surely Rothko doesn’t want anyone to see a lot of workmanship quite the opposite, he wanted his paintings to look fresh and not overdone. And in current standards he would have to toil on every dot in his painting to perfect it.
Today’s abstract paintings look like very hard-worked on simulations of surfaces that look like some textures (varieties of plain or distressed surfaces /stone and whatever is the decorative surfaces of abstracts, patterns that are used in interior design.
Overworked, machine-like is expensive looking enough to sell in the gallery but it creates a certain amount of fatigue in time. The commerce knows about it, the fatigue would bring the art buyer to buy more to add some new life to the art collection ed infinitum.
Art commerce wants more art collectors in the times when art is selling and makes money and should be called what it is – decorative luxury items.
Art or luxury decorative items was always meant for people with wealth and they always wanted to get their money worth.
When abstract painting is done in a manner to be worthy of selling price it is not creativity of conceptual thought and has no abstracted meaning. The craft of simulating surfaces is widely known and is used in interior design. When it is unique that no other craftsman can repeat it is recognized nearly as jewelry and rag-making, etc. All the items that cost money due to the high workmanship and hours, months and sometimes years of creation. Same way was built the historical hand-made furniture. Same way the current abstract decorations will hold in time. It is made for someone as rich as royalties but it doesn’t mean that it has anything to do with artistic creativity, the most mysterious and unexplained human phenomenon.
So anyone who is interested to earn money as a maker of such luxury items and be able to place them in the store for sale – the art gallery, can come up with own recipe for surface replica and start working will find a paying job on the art scene nowadays...
It doesn’t involve questioning of morals, times and life. It involves many hours of working and ability to produce varieties of the same surfaces in good taste. Instead of questioning human spirituality, or questioning art means that someone considers irrelevant and outdated, not for any breakthrough to create something revolutionary new.
THE DISCOVERY by gleitzeit blog (the lost Interview in Rome)
I am using magnifying glass to be able to read a a PDF file of a very low quality.
My eyes are hurting. What I have found is something that is just not available…
I must say on the search for anything tagged “invisible” I find some pretty amazing
stuff I would never know about (later on that)
Paul meet me at the gate. He looked younger than I had expected. Dressed
casually.
As a host he cordially offered me to dine. While we entered the hall I had an urge to ask him, is this a museum? trying not to break anything as we passed by sculptures, paintings,
ceramics and a lot of other pieces of art which I had never seen before.
This unexpected excitement spoiled my appetite, and I was no longer hungry and
instead drank some wine.
He made clear that it is not any kind of a museum, but instead, his Paul’s studio. He lives not in Rome, but by the Terranian sea, where he was going shortly.
I asked Paul how he earns a living. Paul thought a little and tried to find an appropriate explanation. He finally lit on: "I am of independent means and don’t have to earn a living" pouring me another glass of wine.
I asked him: “ Can I buy some of your paintings? How much it will cost me?”
This question Paul left unanswered but he said that commonly he paints his
pictures without the intention to sell them.
Earlier I noticed a little girl and a young woman moving about him.
OMG!!!! I am shaken up. NOBODY KNOWS ANYTHING ABOUT Paul Jaisini’s personal life! I don’t believe this. THANK YOU GOOGLE! this is like really mystifying. I am not an emotional person, rather someone who loves to work hard and get the job done. This turned into something other than working.
Google nowadays is not your “grandfather’s” google so to speak. It is tailored
around you, your daily Internet activity, So finding any news, any special
information is no longer an easy task. I guess because there’s too much of
everything and what one is looking for could be placed out of reach. So we sort
of live on a planet that is flat as in dark ages. I say that because if one is
provided the info that is tailored with limitation it implies that breaking
away is not something one would even comprehend! We are too used to trust our social functioning and think that we know everything, on top of all news provided to us by the honest practice of the broadcasting companies.
We don’t want to be those conspiracy freaks with no trust to anything or
anyone. But truth is, if you don’t want to pay high dollar for some expert
articles on the topics that could give more than the free info, you are really
up against a brick wall of the new unknown reality and a total incapacity to acquire
the needed info of high quality without spending your whole life learning all the crap on the net and beyond in order to find finally what you need.
So search is a tricky mother. If you are creative and sort of spontaneous you
might somehow find your own style of fishing out the essentials. But in my case I
often felt helpless and lost no longer willing to participate in this
undertaking trying to document Gleitzeit.
It doesn’t look like I had managed a short explanation. But this is my formula of
finding something that is not available on the tailored to fit google search.
I enter the variations of phrases and words from the gleitzeit context of emails, postings, essays and add some other words I find on my way of locating Paul Jaisini's links. Turning the tag in a sort of a potion number nine that had proven to fetch some impossible to find info on such a quick inquiry without opening thousands of websites where I might find or might not find anything at all. And the most effective findings are with the tag "invisible" added to other things, be it email abbreviations and so on.
“The other must be his wife”, I thought, because Paul called her with some pet name's asking for a bottle of wine, for a book, or an ash tray.
“Is she your wife? “ I asked just in case.
Paul looked me in the eyes and said: “She is not my wife, nor the mother of my daughter, she is my secretary. “
The secretary I sensed didn’t like me much.
She didn’t call Jaisini by his name, Paul, but she instead addressed him as
mister Jaisini. She seemed obsequious and perhaps didn’t like me for my unrestrained manner and direct questions. She said to Paul: “You should not waste your time on this interview. You need to return to your work. “
Paul said: “It will be few minutes." and spent a few hours with me. A self-ruling man.
Paul didn’t drink any wine but he behaved at times extravagantly, showing the
outlines of the silhouettes in his paintings and explaining what was happening in the pictures.
Paul said that the point of his art being hidden from the public is an
intrigue that engages press in constant attempts to uncover the ‘truth’ behind it all. Nevertheless it is very disappointing, that people don’t care about real art, as they do about private affairs.
We went upstairs and in a spacious hall I saw a large painting. I didn’t hide my
awe.
“Wow! Where did you get such a big piece of canvas? The art stores don’t sell
this linen in such sizes. “
“It is stitched together from pieces," answered Paul.
“How did you reach the upper parts of the painting"
"I climbed the riser. Do you see the nude black man up there, tangled with a
serpent?"
"It reminds me of Laocoön. Is it intentional?"
"No, he is a symbol of physical grace without intellect. Do you see a group of
female bodies intertwined in a threesome?"
"No, I don’t see it. Where is the threesome?"
"To the left, look there."
"I look there."
"There the three figures, here is one, here is another one and the third one."
"Third is not a female figure, it’s some animal."
"It’s a female, but there is an animal, a bit higher up. The clown in the center
tears his mouth in a bloody smile, carrying out his role of a fool, laughing when
he wants to cry."
"Is that a monkey?"
"You got it, she is another symbol of the fate, she stopped hitting the tom-tom,
her direct purpose in circus. When she stopped to play and started to think, she
realized that her life is pitiful and she wants to kill herself. It’s a second
symbol of the same meaning."
"Tell me about that threesome again."
"Well, they show the natural grace, as three graces would, the sensual concept of
procreation."
"This picture must be a depiction of a circus performance, I suppose. Is it ?
Why it is so dynamic?"
"It is a circus performance but is the personal trial of human character. The ball construction is an object: - Paulsen’s ball, it is also a title of the painting."
"This ball creates some weight and it seems to move the composition with it’s
size and position and it seems to be on a verge of rolling down."
"You’re right! I also sense this immediate impulse to prevent the clown to fall
off that ball.
We went to other paintings, whole series of paintings.
When I gathered all my sensations about the art that surrounded me, it was time to leave. Paul Jaisini escorted me to the door. I shook his hand saying:
"You are an interesting man!"
"I am not a man..."
(the last sentence was a good ending)
en.wikipedia.org/wiki/Symbolism
en.wikipedia.org/wiki/Symbolism_(arts)
en.wikipedia.org/wiki/Invisibility
en.wikipedia.org/wiki/Fatalism
en.wikipedia.org/wiki/Gracefulness
en.wikipedia.org/wiki/Impossible_object
Have to type as I read PDF file that can’t be copied
Have to type as I read PDF file that can’t be copied
I am using magnifying glass to be able to read a a PDF file of very low quality. My eyes are hurting. What I have found is something that is just not available… I must say on the search for anything tagged “invisible” I find some pretty amazing stuff I would never know about (later on that) Now I am sitting in my office instead of having night out. It really is an impossible task to just discern the text. I filled up a spray bottle with cold water to spray my face to frequently refresh my eyes, as they get tired from the magnifying glass. It’s totally worth it, the thrill of discovery is my ultimate high.
Subj: Re: any suggestions?
Date: 2/5/00 Pacific Standard Time
From: bcwoodward@bigfoot.com (B. Woodward)
To: Yustas61@aol.com
CC: Angela Ahermeign
The attached file with original text before translation can be used in all related your project on Paul Jaisini.
All my corrections are in () and sometimes they replace the words nearby, other times they get inserted or have comments as well. It should be clear. Angela, you had some trouble with colloquialisms, unclear constructions and misplaced verb tenses. You switched among various forms of the past with irregularity. I’ve brushed it up. It makes a good narrative, though. Very interesting :)
Original Message-
From Angela A, Sent Thursday, February 03, 2000, 4: 25 PM
to bcwoodward@bigfoot.com
Subject Any suggestions
My first meeting with Paul Jaisini in Rome
(was it your first meeting with him, or just first time in Rome… unclear construction)
Paul Jaisini’s appearance at the exhibition of his art made a lot of noise in 1995 in Rome.
(caused a lot of noise, a lot of excitement, or was it just a noisy appearance?)
After newspapers published the (a) photograph of Paul Jaisini in the empty gallery, I read the article and realized how lucky I was to be in Rome. Nobody saw Paul Jaisini’s paintings. Yes, nobody… This what happened next. I called him once, then (a) second time. (,b)But Paul didn’t return my calls. Unfortunately I was not able to stay on guards (stand guard is the appropriate colloquialism) to catch him by the art gallery being (as I was) preoccupied with my (own) business. So I decided that I have (needed, not have) to find a way to see Paul Jaisini’s (hidden) paintings if he hides them. Such extravagance has (had) to be stopped.
I decided to offer him (no him here) to write a testament about (to) the existence of his art (, which would necessarily lead to him revealing it to me.) which will rise the necessity to see it.
I heard about Paul Jaisini before (that time) because he is quite a (reverse the a and quite) well-known contemporary artist. When I set up the appointment to meet (him) I easily found his cozy two- story town-house surrounded by (an) antique iron fence.
When I called (on) the intercom it took a while to explain who I was and why (I had come) did I come.
Paul meet me at the gate. He looked younger than I (had) expected. Dressed casually.
As a host he cordially offered me to dine. While we were entering (entered) the hall I had an urge to ask him, (“I) is it (this) a museum (?), trying to brake (break) anything, (no comma… as we passed) passing by sculptures, paintings, ceramic pieces (ceramics… drop the p word) and a lot of (other pieces of) art which I (had never seen before. drop rest of the sentence) was not able…
Gosh, I can feel how B. Woodward was feeling… WILL SHE REALLY SEE THE PAINTINGS by PAUL JAISINI?????? my eyes are punishing me for this thrill. I need to stop looking into the magnifier when I am now writing a comment without looking into unreadable copy.
Just waiting to get the courage to continue… my eyes need rest, I made myself some coffee with soy milk. But it surely means I want to prolong the suspense. I have no idea what is written in that text I located only god knows where or how.
I think that a gamer guru would understand me after he/she played hardest strategic games for a very long time and turned into a savvy thrill seeker.
medium.com/art-submissions/don-t-bother-901454f687cd The time has come to start making sense of things, of the world, of each other. We think we’re doing that, but we’re actually doing the opposite. We are complicating…EVERYTHING…tothe point of utter madness. Our world has become one ginormous madhouse, ESPECIALLY cyberspace — this alternate world we created within our world that seems to have created a world within itself — yet to be identified, recognized, and named. Making sense of things is not a bad thing. For example, let’s start with one major web enigma: Paul Jaisini and “Gleitzeit” which is this, uh, odd art movement the guy started in the 90s. If you simply google either of those names, I gaurantee you a good WTF moment or two. You’ll not just be scratching your head over this one. You’ll be scratching every part of your body like a delusional nutcase who thinks your skin is literally crawling with countless bugs. IT’S GONNA BUG THE HELL OUT OF YOU, let’s just say…maybe for a day or a week…or maybe, as for some folks, long after you’ve discovered it. You’ll be itching to understand what it’s about even just a little bit. Your mind will try to make sense of Paul Jaisini and/or Gleitzeit, it will want to, but will fail miserably. Frustration and anger will start setting in. I know because that’s how it was for me and every person that tried. The deeper you dig, the more you try to figure it out, the more confused, overwhelmed, baffled, and perplexed you’ll get. I guess for the people that attempt to understand the Paul Jaisini and Gleitzeit thing or debunk it, my advice is: DON’T EVEN TRY. DON’T GO THERE. IT’S NOT FOR YOU. The sleepless nights, the uncertainty, the questions and ideas that start invading your head, the horror of “waking up” from normality and regularity, the trauma of moving from one dimension to another… is not worth it. Well, for me it was worth it, but not for others. They claim it’s crazy and even dangerous for the mind, Paul Jaisini’s Gleitzeit. Well, sure, I mean you gotta break some eggs to make an omelette, dontchya? So, Gleitzeit is the omelette and all parties involved in GIG (Gleitzeit International Group) are the eggs. Makes sense. Speaking of which, “they” don’t want it to make sense, not even close. As a member of the group, I’m breaking protocol BIG TIME by writing this, by encouraging that you go out there, look this stuff up and figure it out, take away its shield of senselessness and defeat it… for the sake of a better world and future for us all. I hope someone out there hears me….one way or another, it had to be said…. Stelly Riesling
FOR IMMEDIATE RELEASE
MANIFESTO GLEITZEIT 2015
BY STELLY RIESLING
Featured below is another original art work of mine in homage to THE PIONEER OF INVISIBLE ART — PAUL JAISINI. Forget all the copycats that came after him — Master Paul Jaisini was the *FIRST* of a totally original concept and the *BEST*. My favorite thing about him is that he’s a voice, not an echo, which is quite rare.
DISCLAIMER: This is for anyone who is a hater OR wishes to better understand me, what I’m all about, so you can decide whether I’m weird or normal enough for you — a kind of very loose manifesto, rushed and unrevised, full of raw uncut emotion that I don’t like to be evident in my writing as lately I prefer a more professional, formal style, so we can consider this a rough draft of the more polished writing to come when I have extra time. I might return to this text later and clean it up or break it into separate parts. Right now it’s a long-winded hot mess, so if you manage to make any sense of it, BIG PROPS TO YOU. lol …and if you manage to read it ALL, you have my solemn respect!!! in a day when reading has been reduced to just catchy headliners and short captions of images once in a while. The consequence of this one-liner internet culture is non-linear, tunnel thinking, which is baaaaaad.
There lives among us a most enigmatic and charismatic creature named Paul Jaisini who led me into the wonderful world of art, not personally, but through descriptions of his artworks in essays written and published online by his friend, which painted the most fascinating images in my mind. Early on as a kiddo, I experimented with photography, simple point and shoot whatever looked attractive to me. Digital manipulation of my photographs with computer software followed… and somehow I learned useful drawing techniques along the way to combine existing elements with nonexistent ones, which allowed me to elevate the context for my ideas. Later, I started creating my own digital art from scratch for my friends and family as a favorite pastime. They would shower me with praise and repeatedly encouraged me to share my “different” vision with the rest of the world… it took a while and wasn’t easy to overcome the insecurity of not being good enough along with a gripping fear of being harshly criticized, but one day I woman-ed up and started publishing my work on the web, reminding myself that my livelihood didn’t depend on a positive reception.
Paul Jaisini’s role in all this has been to not disgrace myself, even if what I do is just a hobby. And I would never do him and other genius artists the disservice of calling myself a professional because I know I’ll never be as good as any of the GIANTS of pre-modern history. Be the best or be nothing, no middle ground.
People’s jealousy in the past, future and present over my obsessive love of Paul Jaisini, which they are well aware is purely plutonic, has caused them to despise the man and has made many relationships/friendships impossible for me. I refuse to have such people in my life because by harboring any negativity towards Paul, they unknowingly feel that way about me and express it to me. It’s their own problem for not realizing this. Paul’s new art movement, Gleitzeit, shaped me into the allegedly awesome girl I am today, giving my art more edge, more “sexy” because it refined my vision of the world and propelled me to attain the skills necessary to not dishonor my family name through tenacious pursuit of perfection. Since the beginning of my life, I attempted to depict what I saw in visual, musical and literal forms, but continuously failed without adequate training and determination. Paul Jaisini’s Gleitzeit was the answer to my prayers. Who I am today I owe mostly to him and his selfless ideals of the artverse that I’ve given unconditional loyalty to (he has this cool ability for hyper-vision to see whole universes, not itty bitty worlds, hence I call it an artverse instead of art world, with him in mind). So again, anyone who hates Paul Jaisini hates ME because, regardless of what he means to you, he is the most important person in my life for making me ME. The way a famous actor, dancer or singer inspires others to act, dance or sing, Paul inspired me to become a better artist, better writer, better everything. More people would understand if he was a household name because they’re wired to in society. But we’re inspiring each other all the time in our own little communities without being famous, so if someone has the ability to change even ONE person’s life immensely with creativity, it is a massive achievement. And passionate folks like myself are compelled to scream it from the cyber rooftops. So here I am. It’s whatever.
Furthermore, I’d like to address here a few pressing matters in light of some recent drama brought on by both strangers and former friends. To start, I never judge the passions, interests or likes of others, which are often in my face all over the place, so likewise they have no right to judge any of mine. It is quite unfortunate and frustrating how very little understanding and education the majority of people have or want to have. Their logic is as primitive as a chipmunk when it comes to promotion of fine art on the web: “spamming, advertising, report!” It’s their own problem that they fail to understand what it’s about due to the distorted lens through which they see the world or inability to think for themselves; an inherent lack of perception or inquisitiveness. Well, guess what? Every single image, every animation, every video, every post dedicated to Mr. Paul Jaisini and “Gleitziet” (to elaborate: a revolutionary new art movement Paul founded with his partner in crime and personal friend, EYKG, who discovered him and believed in him more than anyone) has an important purpose. Every one of those things you run across is a piece of a puzzle, a move in a game, an inch down a rabbit hole; the deeper you go, the more interesting it gets; the more levels you pass, the more clues unfold, the greater the suspense and nearer the conclusion (yet further). You earn awesome rewards like enlightenment, spiritual revelations, truths, knowledge, wisdom and the most profound reward of all: the drive to improve yourself to the absolute maximum, so an unending, unshakable drive. People often make a wrong turn in this cyber game and go back a few levels or get stuck. Those that keep on pushing, however, will come to find the effort has been worth it. And what awaits you in the end of it all? The greatest challenge to beating the game: YOUR OWN MIND. You will be forced to let go of every belief you held before you had reached the last level, to completely alter your mindset and perception of the world, of life, of yourself. But by the time you’ve gotten to that point, it will be as easy as falling off a cliff! (It is a kind of suicide after all — death and rebirth of spirit.)
Paul Jaisini does NOT, *I repeat* does NOT use mystery and obscurity to his advantage as a clever marketing ploy, no, he’s too next level for that with a consciousness so rich, he should wear a radioactive warning sign (he’ll melt your brain, best wear a tinfoil hat in his presence as I certainly would.) The statement he makes is loud and clear, hidden in plain site for those who take the time to connect the dots and have enough curiosity to fuel their journey into unknown territory (an open mind and flexible perception helps a lot). Actually, anyone with an IQ above 90 is sure to figure it out sooner or later. Hint: You don’t have to SEE an extraordinary thing with your eyes to know it exists, to understand it and realize its greatness — you can only feel it in your bone marrow, your spinal fluid, your heart and soul. The moment you do figure it out, as the skeleton key of the human soul, it will unlock the greatness and massive potential buried deep within, changing the doomed direction humanity is undoubtedly headed. I don’t speak in riddles, I speak in a clear direct way that intelligent humans will understand, so I’m counting on them.
GIG is an international group of artists and writers that support Paul Jaisini’s Gleitzeit. We started off as an unofficial fan club of Jaisini in 1996, comprised of only 6 individuals spanning 3 countries, and eventually escalated in status to an official fan group across the entire globe. A decade later it had grown to hundreds of fans. Nearly another decade later, there are thousands. Let’s not leave out another delightful group of vicious haters that have been around for nearly as long as us since the late 90s and have also grown in impressive numbers. Now, for the record (and please write this one down because I’m sick of repeating myself), Paul Jaisini himself is not part of our group and has nothing to do with us. He loves and hates us equally for butchering his name and making him appear as a narcissistic nut-job in his own words. He casts hexes on us for the blinding flash we layer over the art that members contribute to GIG — “disgusting-police-lights, seizure-inducing-laser-lightshow, bourgeois-myspace-effects retarded-raver shit” in Paul’s words. Ahh, how we love his sweet-talking us. In a desperate attempt to please him, those among us who make the art and animations have spent countless hours and sleepless nights trying to solve a crazy-complex quantum-physics type of equation = how to not create tacky or tasteless content. He does fancy some of it now, we got better, that’s something! In the reason stated below, our mission just got out of hand at some point.
What little is known about Paul Jaisini, even in all this time, is he’s a horrible perfectionist who slaughtered hundreds of innocent babies — I mean — artworks of remarkable beauty created by his own right hand (mostly paintings, some watercolors and drawings). He’s a fierce recluse who wants nothing to do with anyone or anything in life. But those few of us who know of an incredible talent he possesses (one could go as far as calling it a superpower), could not allow him to live his life without the recognition he FUCKING DESERVES more than any artist out there living today and, arguably, yesterday. We use whatever means necessary to reach more people, lots of flash and razzle-dazzle to lure them into our sinister trap of a higher awareness. Mwahaha! The visual boom you’ve witnessed in both cyber and real worlds, that is GIG’s doing — two damn decades of spreading an art virus — IVA. InVisibleArtitis… or a drug as in Intravenous Art. It’s whatever you want it to be, honey.
Our Gleitzeit International Group (GIG) started off innocently enough and gradually spiraled out of control to fight the haters, annoying the hell out of them as much as humanly possible. They don’t like what we do? WE DO MORE AND MORE OF IT. But never without purpose, without a carefully executed plan in mind collectively. If we have to tolerate an endless tidal wave of everyone’s vomit — e.g., idiotic memes and comics; dumbed-down one-liner quotes; selfies; so-called “art photography” passed through one-click app filters; mindless scribbles or random splatters by regular folks who have the nerve to call themselves serious/pro artists; primitive images of pets, babies, landscapes, random objects, etc… then people sure as shit are gonna tolerate what we put out, our animated and non-animated visual art designed for our beloved master, Paul Jaisini, who has shown us the light, the right path to follow, taught us great things and done so much for us — and so in our appreciation of him, we stamp his name on everything, for the sacrifices he has made in the name of art, to save our art verse, he’s a goddamn hero. There’s a book being written in his dedication where little will be left to the imagination about him.
If Paul Jaisini was as famous as Koons or Hirst, for example, people would know it’s not him posting stuff online with his name on it but fans creating fanart like myself among others. But noooooo, such a thing is unfathomable to most people - the promotion of another artist. Like, what’s in it for us? Uhh, nothing?? This is all NON-PROFIT bitches, the way art should be. It’s a passion FIRST, a commodity/commercial product/marketable item LAST and least. Its been that way for us since the early 90s to this day. Not a single member of GIG has sold an art work (neither has Paul Jaisini who’s a true professional) and we want to keep it that way. We do it for reasons far beyond ego. So advertising? Really? How the hell do you advertise or sell thin air, you know, invisible paintings, invisible anything? Ha ha, very funny indeed. The idea here is so simple, your neighbor’s dog can grasp it. Our motives: replace fast food for the mind with fine art, actual fine art. You know, creativity? Conscious thought? Talent? Skill? Knowledge? All that good stuff rolled into one to bring viewers more than a momentary ooohand aaahh reaction. Replace the recycled images ad nauseum; repetitious, worn-out ideas; disposable, gimmicky, money-driven fast art for simpletons. Stick with the highest of ideals and save the whole bloody planet.
Fine art is often confused with craft-making. This often creates bad blood between classically trained artists who put out paintings that leave a lasting impression, that make strong conversation pieces, that are thought-provoking and deep… and trained craftspeople whose skills are adequate to create decorative pieces for homely environments — landscapes, still lifes, animals, pretty fairies, common things of fantasy, and other simplicity. Skills alone are not enough for high art, you need a vision, a purpose, the ability to tell a story with every stroke of your brush that will both fascinate and terrify the viewers, arousing powerful emotions, illuminating. I have yet to see a visible painting in my generation that does anything at all for me, other than evoke sheer outrage and disgust. What a terrible waste of space and valuable resources it all is.
Paul Jaisini leads, we follow. He wishes to remain unknown - so do most of us. I’m next in line, slipping into recluse mode, no longer wanting to attach my face, my human image to my art stuff. I wish to be a nameless, faceless artist as well, invisible like P.J., and in his footsteps I too have destroyed thousands of my own artistic photography and digital art made with tedious, labor-intensive handwork. The whole point of this destruction is achieving the finest results possible by letting go of the imperfect, purging it on a regular basis, to make way for the perfect. I love what I do so it doesn’t matter, I know I’ll keep producing as much as I’m discarding, keeping the balance. Hoarding is an enemy of progress, especially the digital kind as there’s absolutely no limit to it. It’s like carrying a load of bricks on your back you’ll never use or need.
The watering down of creativity that digital pack ratting has caused as observed over the years is most tragic. For the creative individual, relying on terabytes of stock photos or OSFAP as I call them (Once Size Fits All Photos) instead of making your own as you used to when you had no choice, being 100% original, is a splinter in the conscience. It’s not evil to use stock of, say, things you don’t have access to (outer space, deep sea, Antarctica, etc.), but many digital artists I know today can’t take their own shot of a pencil ‘cause they “ain’t got no time for that!” How did they have time before? Did time get so compressed in only a decade?
Ohhhhh, and the edits, textures, filters, plug-ins and what-have-you available out there to everyone and their cats… are responsible for the tidal wave of rubbish that eclipses the magnificent light of the real talents.
I can tell you with utmost sincerity there is no better feeling on earth than knowing your creation is ALL yours, every pixel and dot, from the first to the last. It’s not always possible to make it so, but definitely the most rewarding endeavor. I’m most proud of myself when I can accomplish that.
Back to Paul Jaisini, from the start there have been a number of theories floating around on what his real story is. One of my own theories is that he stands for the unknowns of the world who can’t get representation, can’t get exhibited at a decent gallery because highly gifted/trained artists aren’t good enough - those kind of establishments prefer bananas, balloon dogs, feces, gigantic dicks/cunts, and all kinds of what-the-fucks…
So again, you don’t get the Paul Jaisini thing? That’s your problem. Don’t hate others for getting it. People are good, very good, at making baseless assumptions and impulsively spewing it as truth. They criticize and judge as if they’re high authorities on the subject yet they clearly lack education in fine art or art history and possess little to no talent or skill to back up their bullshit. My little “credibility radar” never fails. When they say I know this or I know that, I reply don’t say “I know” or state things as fact as a general rule of thumb - instead say “I assume/believe” and state the reasons you feel thus to appear less immature, especially about a controversial topic like invisible art. I have zero respect or tolerance for egomaniacs who think they know it all and act accordingly like arrogant pricks. Who can stand those, right? Once again, a good example would be: I, Stelly Riesling, believe everything I’ve written in this little manifesto to be correct based on personal experience and observation from multiple angles, thorough research and sufficient data collected from verifiable sources (and don’t go copying-pasting my own words back at me, be original). Just because you or I say so doesn’t make it so. Just because you or me think or believe so doesn’t make it true or right. I only ask that my opinions are regarded respectfully and whoever opposes them does so in a mature, civilized manner. We should only be entitled to opinions that don’t bring out the worst in us.
I don’t normally take such a position, but the time has come to stand up for what I believe in! It’s quite amusing and comical how haters think calling me names, attacking me or my interests or members of the project I’m part of for years is going to change something. It only makes more evident the importance of what I’m doing so I push on harder still.
Words of advise to those who can identify with me, with my frustrations over people’s reluctance to change their miserable ways, with our declining art world…
DON’T waste time on people who sweat the small stuff, whose actions are consistently inconsistent with their words. DO waste time on people who always keep their eye on the ball—the bigger picture of life.
Paul Jaisini’s invisible paintings are more than hype, more than your lame assumptions. Here’s one I got that’s pure gold: a cult! It started out as A JOKE OF MINE that was used against me. I told a then-good friend that he should come join our little “art cult” in a clearly lighthearted manner, and later he takes this idea I put in his head first and accuses me of being in an (imaginary) cult—the jokes on me eh?. But wait, aren’t cults religious? Our group consists of people around the world of different faiths (or none at all) so how could that ever work? If religion was about making fine (non-pop) art mainstream and bringing awesome, fresh, futuristic concepts to the collective consciousness, the world would not be so fucked up today because talent, creativity, originality and individuality would be the main focus, not superficial poppycock; those things would be praised and encouraged and supported in society by all institutions, not demonized and stigmatized.
Here is one thing I CAN state as solid fact: only one person close to Paul Jaisini knows the TRUE story, or at least some of it: EYKG. Everything else that has ever been said about him is myth, legend, gossip, speculation, the worst of which is said by jealous non-artists (wannabes, clones, posers, hang-ons, unoriginal ppl in general) and anti-artists (religious psychos, squares, losers and -duh- stupid ppl). Sadly, people are unable to see the bigger picture by letting their egos run their lives or repeating after others as parrots.
Commercial art, consumerism, and ignorance of the masses truly makes me want to curl up in a ball, not eat or drink or move until I die, just die in my sleep while dreaming of a better world, a world where real fine artists rule it with real fine art as they used to and life is beautiful once again….
Well I hope that settled THAT for now, or perhaps inadvertently made matters worse. I hope I didn’t sound too pissed from all these issues that keep popping up like penises on ChatRoulette… just got to me already! Can you tell? I had to put my foot down, stomp ‘em all!
To be continued, still lots more ignorance and pettiness to battle… Till then peace out my bambini. MWAH!
FOR IMMEDIATE RELEASE
MANIFESTO GLEITZEIT 2015
PROLOGUE
Paul Jaisini was like a messiah, as you wish, who saw/understood the impending end and complete degeneration of Fine art or Art become and investment nothing more than that. He predicted the bubble pops art when everybody would eventually become an artist, including dogs cats and horses, because they as kids followed the main rule: express yourself without skills or knowledge or any aesthetic concerns. J. Pollack started pouring paints onto canvases; Julian Schnabel, former cab driver from NY, suddenly decided he could do better than what he saw displayed in galleries, so he started gluing dishes on canvases; A.Warhol, an industrial artist who made commercial silk-screen for the factories he worked in, started to exhibit "Campbell's soup" used for commercial adds... and later the thing that made him an "American Idol": by copying and pasting Hollywood celebrities (same type of posters he made before for movie theaters).
When Paul Jaisini stood out against the Me culture in the US by burning all of his own 120 brilliant paintings (according to the then-new director of Fort Worth MoMa Museum, who offered hin an exhibition of his art in 1992, and later the Metropolitan Museum curator, Phillippe de Montebello, in 1994).Paul probably assumed all fellow true fine artists would join him or stand by him against corruption of the art world.
And after 20 years of his stand-off...the time has finally come today. Many artists and humanitarians around the world took a place beside him. His invisible Paintings became a synonym for the future reincarnation of fine art and long lost harmony. The establishment is in panic! The "moneybags" (as Paul Jaisini named them) are in panic, because they invested BILLIONS of dollars in real crap made by
craftsmen. Now they realize that the reputation of American legends of expressionism was nothing but a copy of Russian avant-garde" Kazimir Malevich, Vasiliy Kandinsky and tens of others from France and Germany.. US tycoon investors were spending billions on "Me more original, than you". "Artist Shit" is a 1061 artwork by the Italian artist Piero Manzoni. The work consists of 90 tin cans, filled with feces. A tin can was sold for £124,000, 180,000 at Sothebys, 2007.
EPILOGUE
Before I resume promoting and admiring a very important art persona on today's international art arena, I'd like to clear up some BIG questions; people ask continuously and subconsciously, directly & indirectly: "Why does the name Paul Jaisini, flood the Internet in such "obnoxious" quantities that it's started suppressing some other activities that my friends might share with the rest of the Internet's Ego Me only Me www society? I can't just answer this... so I'll try to explain why I'm writing this: Jaisini's followers keep posting art and info about,
He IMHO the only hope in quickly decomposing visual fine art. "Paul Jaisini realized many years ago, in 1994, when he declared (at that time to himself only) the start of a New era, a New vision, that he is trying to redirect from the rat race, started by an establishment in post-war New York, long before the Internet culture.
Sub related information: Adolf Gottlieb, Mart Rothko, etc (after visiting Paris France in 1933):
"We must forget analytical art, we must express ourselves, as a 5 year old child would, without a developed consciousness. Forget about results - do what you feel, EXPRESS yourself with your own unique style"
With this statement Mark Rothko starts to teach his students, degeneration of fine art begins, and the generation of war of styles took a start signal of the material race, greatly rewarded by establishment "individual" - eccentric craftsmen - show business clowns.
Sub related Information: In the summer of 1936, Adolf Gottlieb painted more than 800 paintings, which was 20X more than he created in his whole art career as a painter, starting from the time of Gottlieb becomes a founding member of "The Ten" group in NYC "Group of Ten" was a very peculiar, enigmatic group... Based on a religious point of view;(where a human figure was prohibited from being created)
GLOSSARY
IN 1997, Paul Jaisini's best friend Ellen Y.K.Gottlieb started a cyber campaign by promoting on a very young Internet, back then, Paul Jaisini's burned paintings as Invisible Paintings, visible only through poetic essays. She and a handful of people saw his originals and were devastated that nobody could ever see them again. "We, his fans, believe that someday Paul will recreate his 120 burned paintings if he has any decency and moral obligation to his fans, who have dedicated decades to make it happen, for their Phoenix to rise from the ashes and the whole world will witness that all these years we spent to get him back to re-paint the Visuals again were not in vain," - said E.Y.K.Gottlieb in 2014 during the 20th anniversary celebration of Invisible Paintings to GIGroup in NYCity. So now, hopefully, this clears up why I and others do what we do - our "cyber terrorism" of good art, dedicated to Paul Jaisini's return, which is & and was our mission & our goal. We post good art to fight "troll art" which is worthless pics, after being passed through 1-click filters of free web apps. We are, in fact, against this www pops pollution, done with "bubble art" by the out of control masses with 5 billon pics a day: Pics of cats, memes, quotes,national geographic sunsets and waterfalls, not counting their own daily "selfies: and whatever self-indulging Me-ego-Me affairs, sponsored happily by photo gadget companies like Canon, Nikon, Sony...who churn out higher quality madness tools at lower cost.
This way Government taking away attention from the real world crisis of lowest morality & economical devastation. The masses are too easily re-engineered/manipulated by the Establishment PopsStyle delivered to them by pop music and Hollywood "super" stars. In 1992 Paul Jaisini's Gleitzeit theory predict such a massive, pops self-entertain madness, following technologicalexplosion, but not in illusive scales.
Uber Aless @2015 NYC USA
NOTE Date's numbers and events can be slightly inaccurate.
#gleitzeit #paul-jaisini #invisible #painting #art #futurism #art-news,
sex-or-art?
stellyrichie.wordpress.com/2015/01/04/poor-little-web-thi... #paul-jaisini, #gleitzeit, #art, #image, #infographic, #style, #new, #art-news, #gif, #texture, #creative, #invisible-paintings, #new-york-city, #artist, #stelly-riesling, #gleitzeit-manifesto, #poor-little-web-thing, #sex-or-art,
FOR IMMEDIATE RELEASE
MANIFESTO GLEITZEIT 2015
BY STELLY RIESLING
Featured below is another original art work of mine in homage to THE PIONEER OF INVISIBLE ART — PAUL JAISINI. Forget all the copycats that came after him — Master Paul Jaisini was the *FIRST* of a totally original concept and the *BEST*. My favorite thing about him is that he’s a voice, not an echo, which is quite rare.
DISCLAIMER: This is for anyone who is a hater OR wishes to better understand me, what I’m all about, so you can decide whether I’m weird or normal enough for you — a kind of very loose manifesto, rushed and unrevised, full of raw uncut emotion that I don’t like to be evident in my writing as lately I prefer a more professional, formal style, so we can consider this a rough draft of the more polished writing to come when I have extra time. I might return to this text later and clean it up or break it into separate parts. Right now it’s a long-winded hot mess, so if you manage to make any sense of it, BIG PROPS TO YOU. lol …and if you manage to read it ALL, you have my solemn respect!!! in a day when reading has been reduced to just catchy headliners and short captions of images once in a while. The consequence of this one-liner internet culture is non-linear, tunnel thinking, which is baaaaaad.
There lives among us a most enigmatic and charismatic creature named Paul Jaisini who led me into the wonderful world of art, not personally, but through descriptions of his artworks in essays written and published online by his friend, which painted the most fascinating images in my mind. Early on as a kiddo, I experimented with photography, simple point and shoot whatever looked attractive to me. Digital manipulation of my photographs with computer software followed… and somehow I learned useful drawing techniques along the way to combine existing elements with nonexistent ones, which allowed me to elevate the context for my ideas. Later, I started creating my own digital art from scratch for my friends and family as a favorite pastime. They would shower me with praise and repeatedly encouraged me to share my “different” vision with the rest of the world… it took a while and wasn’t easy to overcome the insecurity of not being good enough along with a gripping fear of being harshly criticized, but one day I woman-ed up and started publishing my work on the web, reminding myself that my livelihood didn’t depend on a positive reception.
Paul Jaisini’s role in all this has been to not disgrace myself, even if what I do is just a hobby. And I would never do him and other genius artists the disservice of calling myself a professional because I know I’ll never be as good as any of the GIANTS of pre-modern history. Be the best or be nothing, no middle ground.
People’s jealousy in the past, future and present over my obsessive love of Paul Jaisini, which they are well aware is purely plutonic, has caused them to despise the man and has made many relationships/friendships impossible for me. I refuse to have such people in my life because by harboring any negativity towards Paul, they unknowingly feel that way about me and express it to me. It’s their own problem for not realizing this. Paul’s new art movement, Gleitzeit, shaped me into the allegedly awesome girl I am today, giving my art more edge, more “sexy” because it refined my vision of the world and propelled me to attain the skills necessary to not dishonor my family name through tenacious pursuit of perfection. Since the beginning of my life, I attempted to depict what I saw in visual, musical and literal forms, but continuously failed without adequate training and determination. Paul Jaisini’s Gleitzeit was the answer to my prayers. Who I am today I owe mostly to him and his selfless ideals of the artverse that I’ve given unconditional loyalty to (he has this cool ability for hyper-vision to see whole universes, not itty bitty worlds, hence I call it an artverse instead of art world, with him in mind). So again, anyone who hates Paul Jaisini hates ME because, regardless of what he means to you, he is the most important person in my life for making me ME. The way a famous actor, dancer or singer inspires others to act, dance or sing, Paul inspired me to become a better artist, better writer, better everything. More people would understand if he was a household name because they’re wired to in society. But we’re inspiring each other all the time in our own little communities without being famous, so if someone has the ability to change even ONE person’s life immensely with creativity, it is a massive achievement. And passionate folks like myself are compelled to scream it from the cyber rooftops. So here I am. It’s whatever.
Furthermore, I’d like to address here a few pressing matters in light of some recent drama brought on by both strangers and former friends. To start, I never judge the passions, interests or likes of others, which are often in my face all over the place, so likewise they have no right to judge any of mine. It is quite unfortunate and frustrating how very little understanding and education the majority of people have or want to have. Their logic is as primitive as a chipmunk when it comes to promotion of fine art on the web: “spamming, advertising, report!” It’s their own problem that they fail to understand what it’s about due to the distorted lens through which they see the world or inability to think for themselves; an inherent lack of perception or inquisitiveness. Well, guess what? Every single image, every animation, every video, every post dedicated to Mr. Paul Jaisini and “Gleitziet” (to elaborate: a revolutionary new art movement Paul founded with his partner in crime and personal friend, EYKG, who discovered him and believed in him more than anyone) has an important purpose. Every one of those things you run across is a piece of a puzzle, a move in a game, an inch down a rabbit hole; the deeper you go, the more interesting it gets; the more levels you pass, the more clues unfold, the greater the suspense and nearer the conclusion (yet further). You earn awesome rewards like enlightenment, spiritual revelations, truths, knowledge, wisdom and the most profound reward of all: the drive to improve yourself to the absolute maximum, so an unending, unshakable drive. People often make a wrong turn in this cyber game and go back a few levels or get stuck. Those that keep on pushing, however, will come to find the effort has been worth it. And what awaits you in the end of it all? The greatest challenge to beating the game: YOUR OWN MIND. You will be forced to let go of every belief you held before you had reached the last level, to completely alter your mindset and perception of the world, of life, of yourself. But by the time you’ve gotten to that point, it will be as easy as falling off a cliff! (It is a kind of suicide after all — death and rebirth of spirit.)
Paul Jaisini does NOT, *I repeat* does NOT use mystery and obscurity to his advantage as a clever marketing ploy, no, he’s too next level for that with a consciousness so rich, he should wear a radioactive warning sign (he’ll melt your brain, best wear a tinfoil hat in his presence as I certainly would.) The statement he makes is loud and clear, hidden in plain site for those who take the time to connect the dots and have enough curiosity to fuel their journey into unknown territory (an open mind and flexible perception helps a lot). Actually, anyone with an IQ above 90 is sure to figure it out sooner or later. Hint: You don’t have to SEE an extraordinary thing with your eyes to know it exists, to understand it and realize its greatness — you can only feel it in your bone marrow, your spinal fluid, your heart and soul. The moment you do figure it out, as the skeleton key of the human soul, it will unlock the greatness and massive potential buried deep within, changing the doomed direction humanity is undoubtedly headed. I don’t speak in riddles, I speak in a clear direct way that intelligent humans will understand, so I’m counting on them.
GIG is an international group of artists and writers that support Paul Jaisini’s Gleitzeit. We started off as an unofficial fan club of Jaisini in 1996, comprised of only 6 individuals spanning 3 countries, and eventually escalated in status to an official fan group across the entire globe. A decade later it had grown to hundreds of fans. Nearly another decade later, there are thousands. Let’s not leave out another delightful group of vicious haters that have been around for nearly as long as us since the late 90s and have also grown in impressive numbers. Now, for the record (and please write this one down because I’m sick of repeating myself), Paul Jaisini himself is not part of our group and has nothing to do with us. He loves and hates us equally for butchering his name and making him appear as a narcissistic nut-job in his own words. He casts hexes on us for the blinding flash we layer over the art that members contribute to GIG — “disgusting-police-lights, seizure-inducing-laser-lightshow, bourgeois-myspace-effects retarded-raver shit” in Paul’s words. Ahh, how we love his sweet-talking us. In a desperate attempt to please him, those among us who make the art and animations have spent countless hours and sleepless nights trying to solve a crazy-complex quantum-physics type of equation = how to not create tacky or tasteless content. He does fancy some of it now, we got better, that’s something! In the reason stated below, our mission just got out of hand at some point.
What little is known about Paul Jaisini, even in all this time, is he’s a horrible perfectionist who slaughtered hundreds of innocent babies — I mean — artworks of remarkable beauty created by his own right hand (mostly paintings, some watercolors and drawings). He’s a fierce recluse who wants nothing to do with anyone or anything in life. But those few of us who know of an incredible talent he possesses (one could go as far as calling it a superpower), could not allow him to live his life without the recognition he FUCKING DESERVES more than any artist out there living today and, arguably, yesterday. We use whatever means necessary to reach more people, lots of flash and razzle-dazzle to lure them into our sinister trap of a higher awareness. Mwahaha! The visual boom you’ve witnessed in both cyber and real worlds, that is GIG’s doing — two damn decades of spreading an art virus — IVA. InVisibleArtitis… or a drug as in Intravenous Art. It’s whatever you want it to be, honey.
Our Gleitzeit International Group (GIG) started off innocently enough and gradually spiraled out of control to fight the haters, annoying the hell out of them as much as humanly possible. They don’t like what we do? WE DO MORE AND MORE OF IT. But never without purpose, without a carefully executed plan in mind collectively. If we have to tolerate an endless tidal wave of everyone’s vomit — e.g., idiotic memes and comics; dumbed-down one-liner quotes; selfies; so-called “art photography” passed through one-click app filters; mindless scribbles or random splatters by regular folks who have the nerve to call themselves serious/pro artists; primitive images of pets, babies, landscapes, random objects, etc… then people sure as shit are gonna tolerate what we put out, our animated and non-animated visual art designed for our beloved master, Paul Jaisini, who has shown us the light, the right path to follow, taught us great things and done so much for us — and so in our appreciation of him, we stamp his name on everything, for the sacrifices he has made in the name of art, to save our art verse, he’s a goddamn hero. There’s a book being written in his dedication where little will be left to the imagination about him.
If Paul Jaisini was as famous as Koons or Hirst, for example, people would know it’s not him posting stuff online with his name on it but fans creating fanart like myself among others. But noooooo, such a thing is unfathomable to most people - the promotion of another artist. Like, what’s in it for us? Uhh, nothing?? This is all NON-PROFIT bitches, the way art should be. It’s a passion FIRST, a commodity/commercial product/marketable item LAST and least. Its been that way for us since the early 90s to this day. Not a single member of GIG has sold an art work (neither has Paul Jaisini who’s a true professional) and we want to keep it that way. We do it for reasons far beyond ego. So advertising? Really? How the hell do you advertise or sell thin air, you know, invisible paintings, invisible anything? Ha ha, very funny indeed. The idea here is so simple, your neighbor’s dog can grasp it. Our motives: replace fast food for the mind with fine art, actual fine art. You know, creativity? Conscious thought? Talent? Skill? Knowledge? All that good stuff rolled into one to bring viewers more than a momentary ooohand aaahh reaction. Replace the recycled images ad nauseum; repetitious, worn-out ideas; disposable, gimmicky, money-driven fast art for simpletons. Stick with the highest of ideals and save the whole bloody planet.
Fine art is often confused with craft-making. This often creates bad blood between classically trained artists who put out paintings that leave a lasting impression, that make strong conversation pieces, that are thought-provoking and deep… and trained craftspeople whose skills are adequate to create decorative pieces for homely environments — landscapes, still lifes, animals, pretty fairies, common things of fantasy, and other simplicity. Skills alone are not enough for high art, you need a vision, a purpose, the ability to tell a story with every stroke of your brush that will both fascinate and terrify the viewers, arousing powerful emotions, illuminating. I have yet to see a visible painting in my generation that does anything at all for me, other than evoke sheer outrage and disgust. What a terrible waste of space and valuable resources it all is.
Paul Jaisini leads, we follow. He wishes to remain unknown - so do most of us. I’m next in line, slipping into recluse mode, no longer wanting to attach my face, my human image to my art stuff. I wish to be a nameless, faceless artist as well, invisible like P.J., and in his footsteps I too have destroyed thousands of my own artistic photography and digital art made with tedious, labor-intensive handwork. The whole point of this destruction is achieving the finest results possible by letting go of the imperfect, purging it on a regular basis, to make way for the perfect. I love what I do so it doesn’t matter, I know I’ll keep producing as much as I’m discarding, keeping the balance. Hoarding is an enemy of progress, especially the digital kind as there’s absolutely no limit to it. It’s like carrying a load of bricks on your back you’ll never use or need.
The watering down of creativity that digital pack ratting has caused as observed over the years is most tragic. For the creative individual, relying on terabytes of stock photos or OSFAP as I call them (Once Size Fits All Photos) instead of making your own as you used to when you had no choice, being 100% original, is a splinter in the conscience. It’s not evil to use stock of, say, things you don’t have access to (outer space, deep sea, Antarctica, etc.), but many digital artists I know today can’t take their own shot of a pencil ‘cause they “ain’t got no time for that!” How did they have time before? Did time get so compressed in only a decade?
Ohhhhh, and the edits, textures, filters, plug-ins and what-have-you available out there to everyone and their cats… are responsible for the tidal wave of rubbish that eclipses the magnificent light of the real talents.
I can tell you with utmost sincerity there is no better feeling on earth than knowing your creation is ALL yours, every pixel and dot, from the first to the last. It’s not always possible to make it so, but definitely the most rewarding endeavor. I’m most proud of myself when I can accomplish that.
Back to Paul Jaisini, from the start there have been a number of theories floating around on what his real story is. One of my own theories is that he stands for the unknowns of the world who can’t get representation, can’t get exhibited at a decent gallery because highly gifted/trained artists aren’t good enough - those kind of establishments prefer bananas, balloon dogs, feces, gigantic dicks/cunts, and all kinds of what-the-fucks…
So again, you don’t get the Paul Jaisini thing? That’s your problem. Don’t hate others for getting it. People are good, very good, at making baseless assumptions and impulsively spewing it as truth. They criticize and judge as if they’re high authorities on the subject yet they clearly lack education in fine art or art history and possess little to no talent or skill to back up their bullshit. My little “credibility radar” never fails. When they say I know this or I know that, I reply don’t say “I know” or state things as fact as a general rule of thumb - instead say “I assume/believe” and state the reasons you feel thus to appear less immature, especially about a controversial topic like invisible art. I have zero respect or tolerance for egomaniacs who think they know it all and act accordingly like arrogant pricks. Who can stand those, right? Once again, a good example would be: I, Stelly Riesling, believe everything I’ve written in this little manifesto to be correct based on personal experience and observation from multiple angles, thorough research and sufficient data collected from verifiable sources (and don’t go copying-pasting my own words back at me, be original). Just because you or I say so doesn’t make it so. Just because you or me think or believe so doesn’t make it true or right. I only ask that my opinions are regarded respectfully and whoever opposes them does so in a mature, civilized manner. We should only be entitled to opinions that don’t bring out the worst in us.
I don’t normally take such a position, but the time has come to stand up for what I believe in! It’s quite amusing and comical how haters think calling me names, attacking me or my interests or members of the project I’m part of for years is going to change something. It only makes more evident the importance of what I’m doing so I push on harder still.
Words of advise to those who can identify with me, with my frustrations over people’s reluctance to change their miserable ways, with our declining art world…
DON’T waste time on people who sweat the small stuff, whose actions are consistently inconsistent with their words. DO waste time on people who always keep their eye on the ball—the bigger picture of life.
Paul Jaisini’s invisible paintings are more than hype, more than your lame assumptions. Here’s one I got that’s pure gold: a cult! It started out as A JOKE OF MINE that was used against me. I told a then-good friend that he should come join our little “art cult” in a clearly lighthearted manner, and later he takes this idea I put in his head first and accuses me of being in an (imaginary) cult—the jokes on me eh?. But wait, aren’t cults religious? Our group consists of people around the world of different faiths (or none at all) so how could that ever work? If religion was about making fine (non-pop) art mainstream and bringing awesome, fresh, futuristic concepts to the collective consciousness, the world would not be so fucked up today because talent, creativity, originality and individuality would be the main focus, not superficial poppycock; those things would be praised and encouraged and supported in society by all institutions, not demonized and stigmatized.
Here is one thing I CAN state as solid fact: only one person close to Paul Jaisini knows the TRUE story, or at least some of it: EYKG. Everything else that has ever been said about him is myth, legend, gossip, speculation, the worst of which is said by jealous non-artists (wannabes, clones, posers, hang-ons, unoriginal ppl in general) and anti-artists (religious psychos, squares, losers and -duh- stupid ppl). Sadly, people are unable to see the bigger picture by letting their egos run their lives or repeating after others as parrots.
Commercial art, consumerism, and ignorance of the masses truly makes me want to curl up in a ball, not eat or drink or move until I die, just die in my sleep while dreaming of a better world, a world where real fine artists rule it with real fine art as they used to and life is beautiful once again….
Well I hope that settled THAT for now, or perhaps inadvertently made matters worse. I hope I didn’t sound too pissed from all these issues that keep popping up like penises on ChatRoulette… just got to me already! Can you tell? I had to put my foot down, stomp ‘em all!
To be continued, still lots more ignorance and pettiness to battle… Till then peace out my bambini. MWAH!
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#STELLYRIESLING #DAVINCI #ARTSHOW #NEW #FOLLOW #FUTUREFOLLOWS #PERSPECTIVE #FANTASTIC #GALAXY
Marble Lady – A painting by Jaisini
In his art, Jaisini insists on overcoming of the dehumanization and the suppression of sensuality.
In every historical period there are ideas and problems that are expressed but will not come to pass. Jaisini seeks to identify this idea in the present, excavate it from the past, and invent it in a new way for the future. In the murky, anxious world of ours, in the midst of the soul's confusions and multiplying moral losses, the artist seeks and always finds some big and small islands of eternal truths, and asserts the indestructible age-long parables that reveal these truths in the new light, in his own system of sign-images.
I realized that the more you look at "Gleitzeit" works and think, the more you see, feel, and understand—but never completely, as the works always have too many aspects for anyone to fully comprehend
There is always some kind of "space" in the painting, in which the observer feels free, without a persistent prompting of the artist, to use his own system of perception.
To me, "Marble Lady" seems a late modern modification of the Greek myth of the sculptor Pygmalion, who used his illusionist skill to satisfy a private fantasy of the ideal woman.
Disappointed by the imperfections of the opposite sex, he created Galatea out of marble. During a festival in honor of Venus, Pygmalion prayed for a woman as perfect as his statue.
Venus answered his prayer by bringing his statue to life and eliminating the boundary between reality and illusion. In Jaisini's "Marble Lady," the object of the intense desire remains alluring, yet perpetually distant. Desire of the others is often imagined in terms of a fetish.
So-called civilized man can be considered in light of his delight of the female form. In "Marble Lady," we find the two types of spectatorship: the masculine and the non-masculine.
Therefore, an image of the woman is defined through the desire of both spectators, the unmanly poet and the savage who may well be a subscriber to "Penis Power Quarterly."
The statue of Galatea was, and still is, the symbol of fictional perfection, a result of the search for an ideal woman that parallels the artist's own creative urge.
A post-feminist culture has found a way to reinvent the woman as she once was: eager to appear attractive again.
"Marble Lady" enables male domination by being unreachable and desirable.
The construction of such a female identity fiction can inspire both high and low natures.
In all of his works, Jaisini unites the high and low principles, integrating art into the material life, breaking out of art's ivory tower.
"Marble Lady" is a compact, pyramidal composition of the "trio."
As in all of his works, Jaisini subdues the figures to the articulation of line and its rhythmic connection between forms in space—a sort of analytical process based on the line swinging which inspires up ideas, shapes, and colors.
These line arabesques are the highly individual textures of Jaisini's art. A decorative role of the painting's color is to illustrate the temperature contrast between the heated environment and the marble-cold statue. In modern and postmodern times, there are increasingly fewer outlets for the sensual urges and desires that lay at the origin of human society that imposes restrictions.
Sexuality remained beyond the scope of most art history. Interaction between male and female is still responsible for the continued functioning of the universe.
Marble Lady (Oil painting) by Paul Jaisini, New York 2003
Text copyright 2003 by Yustas Kotz-Gottlieb. All rights reserved.
Fish Hook
Early Period
W x H (“) 28 x 36
Oil on Linen
Signed
A story.
One evening several tourists who were staying at a hotel in Manchester were having dinner in the hotel restaurant.
Fish was brought and while they were eating it, some of them told interesting stories about finding rings and other things inside fish.
An old man who had only listened to their stories and never spoken a word, suddenly said that he would like to tell them an interesting story, too.
And this was what he told them:
“When I was a young man, I lived in New York and was going to marry a beautiful young girl whose name was Alice.
About two months before our marriage I was sent to England for a fortnight.
I went to say goodbye to Alice and gave her a ring.
She gave me hers and said that she would be waiting for me.
But I had to stay in England six months, and not a fortnight as I had planned.
Late in September my work was done at last and I was able to leave for New York.
Next morning, when I was already aboard the steamer, I was looking through the morning newspaper, and what do you think I saw? Alice was going to marry another man!
I couldn’t believe my eyes, but it was true.
I was so angry that I threw her ring into the sea.
I was having dinner at a restaurant in New York a few days later, and while I was eating the fish, I bit on something hard. What do you think it was?”
“The ring!” all the listeners cried out at once.
“No,” said the old man sadly, “it was a fish-bone.”