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OPEN LETTER TO PAUL JAISINI
IF THERE’S GOD OR PAUL 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.
That is why i value above all so that Paul Jaisini stops me from this if he could I need his help! nobody would help me, I continue with what is left for me to do as my testosterone is as low as the estrogens in the girls who never want to be with the man… Looking with no intention to possess. I assure you when the human kind was facing poverty and diseases it was better than the era of the realized paradise. We live in the paradise, yes, we had SEEN IT ALL! I had seen it all, every men had seen it all.. And no longer desired it at all!
The issue such as what I mention is not the MAINSTREAM of course! Not that anyone knows there’s an issue or that its serious. I don’t know maybe I am under the weather to make such claim of being unwell from the daily consumption of photographic info of choice, in my case as i wrote its the tons of pictures I will see on a daily basic, the girls and their instant environment, as someone had commented, the primitive realism. Nothing more or less. More technical means bring less content that is reduced to the bare surface.
If there’s God or Paul Jaisini — I don’t care, give me hope to escape because my freedom to see is killing me. The visual terror had turned me into a very submissive and quiet slave. I am the voyeur but without sexual pleasure that is gone. When in my previous lives I didn’t earn enough money to be the man I found ways of earning. When I was sick I found ways of getting well. Nothing however seem to motivate me now to find the remedy
…we went upstairs into a spacious studio. The invigorating, nutty smell of
oil paint delighted my senses. It seemed as if I had stepped inside of the
painting. The enormous room dissolved the concentrated scent of oil paints and transformed into Asian perfume. Stepping inside an artist’s studio every time put me into the position of Alice in Wonderland. Surrounded by scattered paintings, brushes, pallets, paint tubes, roles of canvases, and sketch pads, I was searching for the special conversational piece. If I could only find the right piece, which would be the artist’s favorite, I knew it
would break the ice. The first painting that caught my attention put me suddenly under hypnosis and I don’t recall for how long I was staring at it, whether it was a minute or an hour. This is not, in any way, an exaggeration but a real-live experience.
Evidently, Jaisini noticed that I was trapped by one of his paintings and broke the silence.
-Do you like that piece, or are you looking for a starting point to criticize it?
However it is, I welcome your criticisms rather than flattery.
-Your painting develops in my mind like photosensitive paper in a developer. On second thought, I sense an aesthetic pleasure from just the color harmony, but I still need more time-I said.
-No problem, take your time while I finish a sketch.
I had to postpone the interview in order to get a better look at the painting
that captured me. The artist put on some classical music. I began taking notes about what I had seen while he was silently sketching. As time flew
by, it was getting dark outside and the music ended long ago. I glanced at
the watch and realized that 4 hours had already elapsed and I didn’t even start the interview.
Jaisini was still concentrating on his work and it was obvious that I should’ve called it a day. Setting the convenient time for tomorrow I left.
…we met at the café.
I could tell that Jaisini was in a good mood and the interview has a better chance today. Perhaps his work went well, I thought. Jaisini greeted me as someone he had already befriended….
…-Positively, the painting I was contemplating in your studio sticks to my mind
Jaisini answered;
-It happens to many. I like this cafe. It is always so picturesque. The people
here make it colorful. For example, do you see that waitress?
-The small blond in her late thirties?
-Yes, her name is Nancy. Three years ago she told me that she wanted to become famous and in her free time she writes a script for a movie, convincing me that it will be the first script of its kind, a love story based on
her memoir.
Jaisini smiled charmingly, adding: -Oh, no, I am not joking. I believe in her. Once I invited her to the studio, as
she seemed like such a peculiar person. I was just finishing my painting called “Organ Grinder”. She declared frankly and firmly: ”I want this picture. How much?”
I explained to her that I don’t sell paintings.
Then I experienced certain chemistry. When such a “simple” person, but still
the one who writes the script, says: “I want the “Organ Grinder”, it was the
strangest thing. I didn’t like the painting one bit and after that, all of a sudden, I started seeing it in a different light of something very pure and
divine. She wanted so badly to own the picture that she induced her desire on me. I think that to create this “divine” we have to get down with people, declass to become simple and understand art with awe. Even though Gleitzeit is not for regular people, it can be understood by a mailman who asked me for an autograph, by an immigrant who came to the US to earn
money, or by a priest from England who told me that this art is for intellectuals, not for ambitious people who say, “I understand this art while others don’t.”.
-Do you think that your pictures relate to people as if they are puzzles of human life?
-When a man is awake, a man is asleep; everything encloses. And when you enclose your line you create the reality in which the man truly exists not knowing that he is entrapped in a secluded world of his own doing which he cannot escape. The enclosed line may provoke the desire to breakout, to find an exit.
-The question arises, what is fine art now and who needs it? The elite?
-Yes, but people crave art too if a mailman asked me for my autograph on a postcard after I had to explain him about the picture he saw. Before I explained the painting the man felt scared of breaking his head over it. It is understandable when in schools art is taught as an entertainment, not as a psychological significance, a process of growth, a visualization of today’s reality, an analysis of social life and ancient history, or the world’s history that brought people to the technical progress.
- To build a family is more important for that man.
-Yes, he understands his purpose of trying to build a family of five with eighteen grandchildren. A man’s genetic structure is of a turtle’s and is directed to one, laying eggs by any means and returning in a year through six thousand miles across the ocean to lay eggs again at the same place. But pay attention that bravado of the civilized world brings a realization that everything is a sham. Real is what is encoded by nature; real is when you see a beautiful ocean, a beautiful sunrise, or the grace of a horse. This is real.
- Then what is fine art? Is fine beautiful or good?
-Beautiful. It began from nature, from the copying of beautiful bodies of people and horses…. My main direction in art is most progressive, to achieve in composition the grace of color combinations, an intellectual color climax, tone, contrast, and so on. The idea of the painting unites in itself everything we see in the real world, but in an intricate, puzzle-like concept.
-Art in America is a tendency for immediate recognition. The remembrance is strictly visual since there was no comprehension. First they want to see that it’s different. What about Gleitzeit, how do you see this visual effect expressed?
-A regular person, either a lady florist, my tennis partner, or a teenage cowboy comes to my studio and says: “I don’t understand this art and
I don’t want to see it, it’s not mine. When the lady florist starts seeing some figures in a painting, she shouts, “I see! Look! Look! I see it now!” like a child. A man denies what he doesn’t understand as an immediate reaction. An everyday man is brought up on the understanding of natural grace. He doesn’t assimilate it in an abstract
way. He sees an egg and a hen and points out which are the egg and the hen. In my picture he can’t say that this is an egg and this is a hen at first. Moreover, he can’t say what came first, the egg or the hen. He sees something very simple or very complicating. The man refuses to do an effort. Slowly, not even slowly, but pretty quickly the man can
transform if he learns.
-Do you want to change the process of art cognition? The judgment is not based on the appearance since ‘we’ve seen all there is to see’ with and without philosophy, like when they sell us Coca-Cola they tell us about the transcendental. We are understanding folks. Do you want this “flat” cognition to change?
- A man is looking for an escape. I try to attach him to a thread in the picture, which is twisted, to untangle it. What is next? Did he learn something? Yes, and he also begins to understand abstraction after the knot is undone. This is flexitime. Will the work turn blank? No, since it still has an idea. If it would be an automated drawing by a schoolchild that may look like something there is no concept. In my art you have an idea and mastership. The key is the artist’s mastership. A weak painting will not survive. What is left to the spectator is aesthetic pleasure and confidence.
-What if people ask you for a simpler art? Why do they have to untangle your art?
- I answer simply. It’s not my doing and decision. I didn’t decide it. The art critics said so, they who studied art all their life and read volumes of books. They say that they analyzed it and it has this and that meaning, non other. That an artist is a reflection of society.
- Do you consider yourself a reflection?
-No, I don’t. Philosophers try to understand what is art and life. I only
insist that grace will not diminish in value.
… and I caught myself on a thought that I wanted to know how the story with the scriptwriter waitress ended. If the painting is still in the artist’s holdings I would like to see it to know why she wanted it so badly. And I asked…From 48 hours of the Interview with Paul Jaisini in his New York studio
PAUL JAISINI INVISIBLE PAINTING SINCE 1994
Paul Jaisini is a legendary artist in the making and will be super famous one day, a household name, which he deserves for his mind-imploding talent, extraordinary vision of the future, genius concepts and innovative approach to art as well as the world and human race that's far ahead of our times...heck, I fear it might be too next level for our times.
Paul Jaisini creates invisible paintings. You gotta not see it to believe it!
Art by Gleitzeit International Group © All Rights Reserved. Are you invisible? Get invisible....
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
WET DREAM, Oil painting by Jaisini
Wet Dream, an oil painting by Jaisini, in terms of exploration of own sexuality, dreams, or nightmares, belongs to a human traditional need for personal revelations. The imagery of the work is of a usually Jaisinesque theme that is not to be a statement or an illusion, but which summons the emotions.
In Wet Dream, the feelings of morning euphoria and desire create a new formula of early life’s passion. Jaisini delivers a high sensory level through the graduate, almost hypnotic step by step desire awakening.
The work precedes the Reincarnation series. As in all of his paintings, Jaisini pursues a metamorphosis of the physical and mental states. In his works, the concept and the material are enclosed and inserted within each other. The essential visual vehicle is in a line, that emphatically has a life of its own and could be perceived as an automatic release. The enclosure of the line is not only graphical, but also symbolic of the connection between the picture’s elements which await their disclosure.
In the years of cubism, Andre Masson created his series of erotic drawings. In his works, Masson portrayed pure erotica with total absorption in the act, orgiastic, uncomplicated, and a little banal. The lack of diversity in such a subject matter as eroticism resulted in the Masson’s scenes of pairs, trios, or even dozens of naked women interacting in a sexual way with one another. Masson filled these scenes with a Rubensian appreciation of the flesh and its pleasures, the very quality which impoverishes the otherwise fruitful area of human psyche.
Jaisini, on the contrary, uses the sensual overtones to enrich and explore the mysterious realm of mind potential. So, instead of creating automatically, similarly, and limited, Jaisini employs his mind to complicate and develop the subject of desire.
In Masson’s erotic series, the only sentiment is the libidinous desire. Jaisini reflects a different time and epoch that is not satisfied with the simple approach. Jaisini combines together the physical with psychological, which becomes nearly a game.
The expressionistic line swirls flow in the open canvas ground and embrace the canvas in expansive loops. The work is airy.
The artist’s thought transfers line into an image of a contraposto torso with a liplike part on the neck cut. Another female images express their physical and emotional concerns. The bottom lean figure indicates the young age of this female. In turn, that may explain the desperate pose for the erotic fulfillment. The third blond woman at the upper right corner appears to be more sexually mature. She holds a big breast that belongs to another female with a face that has only big red lips and flowing down hair lines. Here, we find a profile of a man who seems to sniff the aroma of the female bodies not without pleasure. In the center, there is another gasping profile. The curvilinear forms enhance the overall impression of a fluid movement, which so well corresponds to the erotic sensation. A phallic finger touches a soft pillow and charges erotic energy in all other phallic configurations in Wet Dream.
All images link in their conscious-unconscious, figurative-abstract condition.
The cycle of desire goes on endlessly and is at the core of human existence. In Wet Dream, Jaisini liberates the desire from the self. In this well born work of art the desire is taken for a model. The work demonstrates what we know of creation to be a combination of already existing things into newer forms. That being so, the desire of man must have been in an endless existence and will continue to dwell in bodies and in works of art to which Wet Dream is an example.
Yustas Kotz-Gottlieb
Review of “Wet Dream” by Paul Jaisini
the "adult content" Artwork: "Cyber Doll" Work By Stelly Riesling 2013 www.artlimited.net/image/en/514240
www.artlimited.net/image/en/518222 Below is a comment written by Yustas Kotz-Gottlieb that was copied to be a part of someone’s writings during the exchange about Gleitzeit Art by Paul Jaisini
Let’s say that art is better then weapons and if artists were allowed to create maybe even Hitler wouldn’t be the maniac and just exhibit his works. But when artists are ostracized it could get ugly. Possibly that is why there is a postmodern art that is an open statement of how much artists started to hate society
I like commercial art if it’s good. Some commercials on television are more creative then Broadway shows for tourists that denounce theatre.
I know a New York writer who has to work as a laborer moving furniture to earn a living writing for newspapers.
Social change would also contribute to what is considered valuable in art thus what is paid for with a lot of money would turn into classic art.
Postindustrial society Is not going to be changed into paradise any time soon due to the mentality of the people.
I have many of my personal conclusions and thoughts in a novel that at the same time could be deemed commercial having murder, sex and futurism.
The art book about Paul Jaisini is art for art’s sake therefore I have to publish it probably not as a writer but as a publishing house so it seems.
thank you for your contribution to the dialogue.
badcat gif kitten feline leopard pussy pussycat pussylips kitty meow bewitched purr zebra animalprint paws lovecats lego catwoman pink hypnocat glitter detail photo diamond beads decor decorative robot toy star colorful wallpaper design glitter glam enhanced saturation effect fantastic pic butterfly collage futuristic metal space alien robot lego t zebraprintbackgound heart sparkles polished crystals transparent layers elaborated artistic bubbles letters created inspired blue purple neon aqua jewel gem jewel ornamental author unique coloring colors rainbow butterfly silver paper DOTS gleitzeit artphoto pauljaisini jaisini genius manifesto celestial amulet galaxy fancy handmade chabbychic professional signature monogram oneofakind golden surface texture layering glam
Мистер Поль Жезини! Кота, которого вы так упорно ищите, здесь, увы, вы не найдете - Я лично проверял неоднократно. Однако ваша Инвизибл живопись не дает мне покоя вот уже 20 лет. К. Малевич
DO NOT MISTAKE CAMOUFLAGE CONCEPT FOR PAUL JAISINI'S INVISIBLE PAINTINGS. THEY ARE DIVIDED BY TWO DIVERGENT CATEGORIES. CAMOUFLAGE -- VISIBLE, MATERIAL, PHYSICAL REALITY. INVISIBLE PAINTINGS -- UNREAL NON--MATERIAL REALITY.
- Interview with Paul Jaisini, "New Times" 1997
..."However, so many artists is not only trying to be innovative, influenced by Paul Jaisini's very provocative and confusing Invisible Paintings... interactive sculptures, Legend in the making, invisible artist Paul Jaisini. Remember his name
paintings are still pretty visible. Too many creators for over 20 years influenced by "Vision Impossible" of Paul Jaisini. Here is one of the attempts to "redirect own vision".;) These sculptures are fun and offer more of a project for Tombstone for the Paul Jaisini grave, than admiration for Paul's genius. To be continued..."?
Abraham Lincoln said it first. Screw it... here is the Paul Jaisini's version - "The future will always predict us unless we will invent new humans". - P.Jaisini, from interview 1997
Warned-out vision can be replaced" - P.Jaisisni. interviewed by E.ipolito. New York Times 1996
Gleitzeit Manifesto 1994
ART WOULD ENTER THE HOURS OF WORK AND AFFECT THE MIND OF A WORKER
GLEITZEIT ART ACTION TAKES PLACE
GLEITZEIT INTER GROUP ALL RIGHTS RESERVED
GLEITZEIT MANIFESTO 2015
PAUL JAISINI INVISIBLE PAINTING SINCE 1994
PAUL JAISINI INVISIBLE PAINTING SINCE 1994
Paul Jaisini is a legendary artist in the making and will be super famous one day, a household name, which he deserves for his mind-imploding talent, extraordinary vision of the future, genius concepts and innovative approach to art as well as the world and human race that's far ahead of our times...heck, I fear it might be too next level for our times.
Paul Jaisini creates invisible paintings. You gotta not see it to believe it!
Art by Gleitzeit International Group © All Rights Reserved. Are you invisible? Get invisible....
Still not getting the message? Yeah, didn't think so... This will take a while to sink in, if evercontemporary craftsman aka ARTISTS don’t know how to do fine art, but “super-intellectuals” and “moneybags” do know how to do the virgin brains. i call it art of witchcraft. PAUL JAISINI
Who made up the rules
We follow them like fools
Who are they, where are they
How can they possibly know all this
Kneel down before the great and powerful Black Cat God, almighty ruler of the cat universe and plotting to take over ours! Pray that your pathetic soul shall be spared from his vicious wrath! You might just be way too lame and miserable for his taste and get lucky!
"If I may put forward a slice of personal philosophy, I feel that man has ruled this world as a stumbling demented child-king long
enough! And as his empire crumbles, my precious [Black
Cat God] shall rise as his most fitting successor!"
Cat caught in blue fire, ice fire. Where are those damn firefighters???
(The art and text featured on this page is by Gleitzeit International Group © All Rights Reserved.)
Hypno cat wants your soul! Muahahaaa
You can click each one to enlarge for better detail.
(The art and text featured on this page is by Gleitzeit International Group © All Rights Reserved.)
Animated coolness wink emoticon
Art by Gleitzeit International Group © All Rights Reserved.
This quite a moving, powerful piece when you see the original in better detail.
Art by Gleitzeit International Group © All Rights Reserved.
Every image and text on this page belongs to Gleitzeit International Group © All Rights Reserved.
You can enlarge each of these creations by clicking them. The links I post here are ALWAYS 100% SAFE and only cost a second of your time to open grin emoticon
(All images & text are by Gleitzeit International Group © All Rights Reserved.)
Only the best for our fans! You rock! heart emoticon
Art work by Gleitzeit International Group © All Rights Reserved
Crazy in love with this stunning animated art work by GIG!!! heart emoticon
Gleitzeit International Group © All Rights Reserved
Stunning art work by one of the main contributors to GIG (Gleitzeit International Group) - a young female artist who wishes to remain anonymous for now. I'm a huuuuuuge fan of her sublime art!
Everything is better with hearts and sparkles! kiki emoticon
Fine Art by GIG (Gleitzeit International Group)
This is an artwork by a young female artist from NYC who is part of GIG (Gleitzeit International Group) and allegedly is about a horrible incident in her life that traumatized her. She was sexually harassed by a photographer after modeling her painted body for another artist who hired that photographer. It's a sad fact that in the modeling industry, photographers get away with such abominable, inhuman acts all the time because the model victims are often too ashamed to come forward or too scared of the consequences.
One of GIG's trademarks, the bad/evil/villain kitty! Whenever you see his face, you know it's us.
Want a taste? tongue emoticon Delicious fine art with confetti animation by GIG (Gleitzeit International Group)
If this is indeed the man himself, Paul Jaisini... WOOF!!
Sorry for any re-posts. I can't remember half the things I post here and don't have the time or internet speed for all that scrolling.
FYI - Paul Jaisini is one of the greatest internet "mindfucks" since the dawn of the internet itself practically. All these years gone by and no one can still figure him/it out to this very day. And the deeper you dig, the more bizarre it gets I tell ya. Sometimes I wish I never became entangled in this cyber adventure mystery, yet other times I shudder at how much duller my life would be!!!
Trippy kitties! GIG makes some of the funkiest creations I've ever seen!
There's a special place in my mind where kitties from outer space or an outer dimension start having these crazy-ass color seizures. I'm like mad metal, man. sunglasses emoticon
(Art by Gleitzeit International Group © All Rights Reserved.)
A photo from my vacation at a beach resort on Mars. Best time ever!! sunglasses emoticon
(Art by Gleitzeit International Group © All Rights Reserved.)
The invisible artist Paul Jaisini swallowed some police lights to make all the druggies & dealers in his path scamper off when he walks down the street. Only way to walk the streets over here baby!
Wicked kitties don't you play your wicked games with me!
(Art by Gleitzeit International Group © All Rights Reserved.)
Upon seeing this stunning artwork, it struck me... where does the expression "feeling blue" come from? Why that particular color and not, say, "feeling black" to express a sad state, which I think sounds more apt, black being the color of darkness... So I hit up my best bud Google for the answer! Ain't learning fun? Looky what I found:
The noun blues, meaning "low spirits," was first recorded in 1741 and may come from blue devil, a 17th-century term for a baleful demon, or from the adjective blue meaning "sad," a usage first recorded in Chaucer's Complaint of Mars (c. 1385). The idiom may have been reinforced by the notion that anxiety produces a livid skin color.
(Art by Gleitzeit International Group © All Rights Reserved.)
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.
WET DREAM, Oil painting by Jaisini
Wet Dream, an oil painting by Jaisini, in terms of exploration of own sexuality, dreams, or nightmares, belongs to a human traditional need for personal revelations. The imagery of the work is of a usually Jaisinesque theme that is not to be a statement or an illusion, but which summons the emotions.
In Wet Dream, the feelings of morning euphoria and desire create a new formula of early life’s passion. Jaisini delivers a high sensory level through the graduate, almost hypnotic step by step desire awakening.
The work precedes the Reincarnation series. As in all of his paintings, Jaisini pursues a metamorphosis of the physical and mental states. In his works, the concept and the material are enclosed and inserted within each other. The essential visual vehicle is in a line, that emphatically has a life of its own and could be perceived as an automatic release. The enclosure of the line is not only graphical, but also symbolic of the connection between the picture’s elements which await their disclosure.
In the years of cubism, Andre Masson created his series of erotic drawings. In his works, Masson portrayed pure erotica with total absorption in the act, orgiastic, uncomplicated, and a little banal. The lack of diversity in such a subject matter as eroticism resulted in the Masson’s scenes of pairs, trios, or even dozens of naked women interacting in a sexual way with one another. Masson filled these scenes with a Rubensian appreciation of the flesh and its pleasures, the very quality which impoverishes the otherwise fruitful area of human psyche.
Jaisini, on the contrary, uses the sensual overtones to enrich and explore the mysterious realm of mind potential. So, instead of creating automatically, similarly, and limited, Jaisini employs his mind to complicate and develop the subject of desire.
In Masson’s erotic series, the only sentiment is the libidinous desire. Jaisini reflects a different time and epoch that is not satisfied with the simple approach. Jaisini combines together the physical with psychological, which becomes nearly a game.
The expressionistic line swirls flow in the open canvas ground and embrace the canvas in expansive loops. The work is airy.
The artist’s thought transfers line into an image of a contraposto torso with a liplike part on the neck cut. Another female images express their physical and emotional concerns. The bottom lean figure indicates the young age of this female. In turn, that may explain the desperate pose for the erotic fulfillment. The third blond woman at the upper right corner appears to be more sexually mature. She holds a big breast that belongs to another female with a face that has only big red lips and flowing down hair lines. Here, we find a profile of a man who seems to sniff the aroma of the female bodies not without pleasure. In the center, there is another gasping profile. The curvilinear forms enhance the overall impression of a fluid movement, which so well corresponds to the erotic sensation. A phallic finger touches a soft pillow and charges erotic energy in all other phallic configurations in Wet Dream.
All images link in their conscious-unconscious, figurative-abstract condition.
The cycle of desire goes on endlessly and is at the core of human existence. In Wet Dream, Jaisini liberates the desire from the self. In this well born work of art the desire is taken for a model. The work demonstrates what we know of creation to be a combination of already existing things into newer forms. That being so, the desire of man must have been in an endless existence and will continue to dwell in bodies and in works of art to which Wet Dream is an example.
Yustas Kotz-Gottlieb
Review of “Wet Dream” by Paul Jaisini
WET DREAM, Oil painting by Jaisini
Wet Dream, an oil painting by Jaisini, in terms of exploration of own sexuality, dreams, or nightmares, belongs to a human traditional need for personal revelations. The imagery of the work is of a usually Jaisinesque theme that is not to be a statement or an illusion, but which summons the emotions.
In Wet Dream, the feelings of morning euphoria and desire create a new formula of early life’s passion. Jaisini delivers a high sensory level through the graduate, almost hypnotic step by step desire awakening.
The work precedes the Reincarnation series. As in all of his paintings, Jaisini pursues a metamorphosis of the physical and mental states. In his works, the concept and the material are enclosed and inserted within each other. The essential visual vehicle is in a line, that emphatically has a life of its own and could be perceived as an automatic release. The enclosure of the line is not only graphical, but also symbolic of the connection between the picture’s elements which await their disclosure.
In the years of cubism, Andre Masson created his series of erotic drawings. In his works, Masson portrayed pure erotica with total absorption in the act, orgiastic, uncomplicated, and a little banal. The lack of diversity in such a subject matter as eroticism resulted in the Masson’s scenes of pairs, trios, or even dozens of naked women interacting in a sexual way with one another. Masson filled these scenes with a Rubensian appreciation of the flesh and its pleasures, the very quality which impoverishes the otherwise fruitful area of human psyche.
Jaisini, on the contrary, uses the sensual overtones to enrich and explore the mysterious realm of mind potential. So, instead of creating automatically, similarly, and limited, Jaisini employs his mind to complicate and develop the subject of desire.
In Masson’s erotic series, the only sentiment is the libidinous desire. Jaisini reflects a different time and epoch that is not satisfied with the simple approach. Jaisini combines together the physical with psychological, which becomes nearly a game.
The expressionistic line swirls flow in the open canvas ground and embrace the canvas in expansive loops. The work is airy.
The artist’s thought transfers line into an image of a contraposto torso with a liplike part on the neck cut. Another female images express their physical and emotional concerns. The bottom lean figure indicates the young age of this female. In turn, that may explain the desperate pose for the erotic fulfillment. The third blond woman at the upper right corner appears to be more sexually mature. She holds a big breast that belongs to another female with a face that has only big red lips and flowing down hair lines. Here, we find a profile of a man who seems to sniff the aroma of the female bodies not without pleasure. In the center, there is another gasping profile. The curvilinear forms enhance the overall impression of a fluid movement, which so well corresponds to the erotic sensation. A phallic finger touches a soft pillow and charges erotic energy in all other phallic configurations in Wet Dream.
All images link in their conscious-unconscious, figurative-abstract condition.
The cycle of desire goes on endlessly and is at the core of human existence. In Wet Dream, Jaisini liberates the desire from the self. In this well born work of art the desire is taken for a model. The work demonstrates what we know of creation to be a combination of already existing things into newer forms. That being so, the desire of man must have been in an endless existence and will continue to dwell in bodies and in works of art to which Wet Dream is an example.
Yustas Kotz-Gottlieb
Review of “Wet Dream” by Paul Jaisini
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
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Merchant /art dealer vs Paul Jaisini"
Merchant:
-How different are you from any other artists? For instance we will pay you a million dollars for your invisible art. Your invisible art is an instrument to realize your American dream. You belong to the same social structure as everyone else, using the same money and eating the same food. All you want is to over-smart the others.
Paul Jaisini:
-"Yes, I would take your million dollars, — is the answer. – So that there will be the next artist who will want to take a million dollars by the means of Invisible art. And this how the new art begins. This is how I turn your million dollars into the Invisible Million dollars. This is how the people will follow me because they had survived the devaluation of currency, the devaluation of the social systems as they had exploded with the end of human morality When the people were left without spiritual meaning in their life except the material survival.
The Material morality is the one to finally bankrupt what is known as the civilized world.
The promises of the new better era that will start in 2000 hadn’t come true. And it only got worse. The beginning of the end, if you will, when the morality was traded for the material values once and for all.
The beginning of my invisible painting is like a revolutionary pamphlet with a slogan “bring down the king.”
Why a true artist needs money? To buy time otherwise he can’t create the invisible painting.
He sells himself as a prostitute and no longer thinks of the aspirations to achieve the invisible masterpiece.
He had lost what was the original drive — his unique idea of creation. Now he is given the idea, what to paint, how to paint and get paid for it. If the artist refuses to commit to the social needs and what the society wants of him, he simply dies, ousted from the marketplace.
Your million dollars helps to make the big-time Invisible art.
For some people Invisible art is same as Communism, it destroys the material values these people possess. The diamonds turn into glass, the gold — simple metal. Nobody needs the old values when the Invisible painting had changed the perception."
[rare documented online conversation with Paul Jaisini - date unknown)]