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I am reading the amazing bits and pieces to eventually arrive to the moment when the puzzle and to be completely honest that this is not the type that was meant to be solved…
. 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.
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.
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
Stelly 2012 #underwater @swimmer #sexy #glowing #light #photo #artphoto #stellyriesling #pauljaisini #art #fineart #green #nature #summerdiary
You Will Like What I See -- Paul Jaisini
"Homage to Paul Jaisini Invisible Paintings from 1994" is the new series of artworks in the ongoing project "Art About Art" by the Gleitzeit International Group.
Stelly Riesling: there's a subtle anti-consumerism statement in this work, which is perfect for the holiday shopping craze, so i might as well mention it here. much of what we own is made of plastic that is consumed ravenously, thanks to super cheap labor overseas, so all the digital gadgets are as accessible to the poor as the rich, and both are deceiving themselves in believing their lives have more significance carrying these "mini super computers" and being "connected" at all times to the rest of the world; giving them a false sense of security; filling a massive void of loneliness in their lives and hearts through an unrelenting need to be engaged in constant activity to help escape the horror of reality, i.e. socializing... ironic isn't it. So why are girls allowed to get away with bikinis vs lingerie... i've seen plenty bikinis expose waaaaay more femininity than underwear and bras, and i've seen girls strike poses more scandalous than cute yoga stretches in their bikinis. it's the come-hither look that makes this "adult content" - otherwise she's just a girl showing off her flexibility with the whimsical idea that she hasn't grown out of her infancy when she did the same exact thing shown here. why must artists ALWAYS take the heat for others' dirty minds... by constantly discussing things that bother them in a highly subjective manner, they're part of the problem in making everything wrong and taboo by blowing things out of proportion, actively searching for black cats in dark rooms where they don't exist and actually finding them.i simply had to address an issue that has become a thorn in my side because so many people can't or won't look beyond the 2-dimensional plane to which they're so accustomed in society and media. i wish they would at least try to have a semi-intelligent discussion with me instead of outright attack me or my work.
DONT NEED EYES SEE PAUL JAISINI'S INVISIBLE PAINTING
I'M FAKIN TRIPPIN IT'S BREATHLESS
On the right side of the picture there is one of the three heads. It seems that this is a severed head.
The two surgical scars run vertically over the face crossing the eyes, bloody and shut.
He opens his moth as if screaming the written words: "I am faking trippin."
The words in yellow color lined towards the second personage -- another HEAD COVERED by a CAPTURE or BONDAGE HOOD.
His mouth is OPEN WIDE showing bad teath.
The third personage is also a "severed" head on the left.
It appears to be tightly wrapped in a greenish cloth tightened with a string that goes over the eyes area.
The cloth cover is stained RED from the blood underneath.
The words written backwards spread from the head to the picture's center: "ITS BREATHLESS."
On the foreground it reads: "DONT NEED EYES SEE PAUL JAISINI'S INVISIBLE PAINTINGS"
Background is an art canvas painted in gray with green and rusty shades, spotted with red blood stains. www.linkedin.com/pulse/article/20140916213640-352842382-d...
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
Meta category: "Homage to Paul Jaisini" Art Series Collection. Gleitzeit International Group. The Ongoing art project: "ART ABOUR ART"
Category: Artwork, Painting, Photograph, Photo-Manipulation, Drawing, Mixed Technique, Etching, Print, Original,
Subcategory: Gif
Tag: Manifesto, Image, Representational, Abstract, Gleitzeit Manifesto, Words, Color, Black And White, Face, Figure, Style,
Title: Paul Jaisini
PAINTING OWN SHADOW
Unbelievable Life Of Paul Jaisini By Yustas Kotz-Gottlieb
The LINEN CANVAS of fine portrait grade BLACK INK OUTLINES THE SILHOETTE OF THE ARTIST IN THE LINEAR DRAWING.
The Art Linen canvas serves as the beige textured background.
The Image is outlined in black ink as a linear drawing.
Light Vs Shadow composition is in line with other works where the visual mode also uses light versus shadow concept.
Here the idea develops visually and conceptually. The artist's figure casts the black shadow with jaggedly edges.
The idea could be surprisingly big for the artwork that maintains its ascetic visual means.
At first glance there is an artist, he looks somewhat misplaced, as one who doesn't belong to the times when the artist is expected to look rather flamboyant and unusual.
This is not to imply that an artist should or shouldn't be looking flamboyant and unusual. His is not a role of a spiritual adviser, social worker or motivational speaker. Historically it is a known fact that only a small minority of artists were the true creators in a sense of their life-long calling.
The image of artist seems to translate certain visual codes that shape this character of purity and life--long sacrifice to the creative ecstasy and agony. The burden of the artistic ideals of harmony in all historical times was too heavy. when all considering the culture comes down to depend on few genius creators who set aesthetic standards so high nothing in the mundane life of ordinary people could contaminate the harmony. Therefore the burden of pure creativity was always unbearable for the chosen one who is endowed with the rare gift of artistic genius and prophetic vision.
Paul Jaisini creates invisible paintings. You gotta not see it to believe it! Art by Gleitzeit International Group © All Rights Reserved.
paul-jaisini-arts:
““Paul Jaisini creates invisible paintings. You gotta not see it to believe it!
An Artist and Two Rats – Tale for children
There lived an artist. He was looking funny in appearance. His hands were often soiled with paints and on the tip of his nose there was a black spot from a chalk which he used to draw his sketches. The artist was very forgetful. He could forget to eat lunch. He could forget to go to sleep when it’s dark and everyone is asleep. He could forget a lot of things. In addition to his forgetfulness he also had a strange quality to be thinking and not to hear when he is spoken to, not being deaf. Simply he always thought about a new picture and therefore could not always answer to a raised question. But people assumed that he was deaf in fact and they started to talk to him louder. And this was very funny. The artist lived at a large studio with enormous windows under the very roof of five story building. Sometimes he walked up the stairs to the dark and mysterious attic. The attic allured him with its secret treasures. The bottle of milk, fresh bread, fruits, few boiled eggs, a piece of smoked meet, very appetizingly looking, were brought to his door daily. He almost never went out from his studio. A craw fish is almost like an artist in this habit never to get out of its shell, filled with secretive plans and ideas. The artist lived like this, like real hermit, for many years, because he was a man who dedicated himself to one business. He wanted to paint many pictures. He dreamed a lot about that time when he will come out from his studio with 1000 paintings and will stun all of the world with his art. For this he forgot all the fun and pleasantries. He could think of nothing but his pictures. From aside it could be thought of him that he was a little odd, but people around him knew that he was very kind and funny. But they also knew that it is in vain to talk to him, as to the question how is he doing he could answer off the point with another question like: Does it look like it going to rain? Looks cloudy! He was only concerned with the rain, as he was scared that clouds will close the sun and in his studio there will be no light. He will not be able to work on his pictures. As it is very important for the artist to have a lot of day light to see the true color of paints. The artificial light changes colors. Blue seems a bit greenish from yellow light. Sometimes the artist felt very lonely. He had no friends, and sometimes he desperately wanted to chat with someone. As he occasionally could forget to eat his food, it remained on the table till the next day. But the next day the artist would notice that the bread, cheese and eggs were bitten off. He thought that he may not be as lonely as it seems. Now, even if he ate all food he would leave some food bits on the table.
And so, once, at night he didn’t go to sleep but instead quietly sat on the chair and awaited for the emergence of his unknown friend at the table in search for leftover food. Thinking about a picture as always he was as if in a dream when suddenly he heard a noise, a sound of stepping feet. He became alert. The moon light was illuminating his studio. On the easels as always there were blank canvases ready for the next picture. Paints were laying everywhere, on shelves, on the floor, on the table, on the chairs, on the bed, even in the sink. Brushes were sticking out here and there. As the artist was preoccupied with his thoughts of pictures he always forgot to tidy up. That’s why sometimes he had to search for a long time for necessary thing, lost in chaos. The sounds were very loud, and no wonder as in the huge empty studio the acoustic effect was v! ery strong at night with the absolute silence. The sound of running steps seem very loud as if it was a cat or a dog. The artist was surprised, how could he not notice such a big animal, and why does it show up only in the darkness? He even felt a little chill, what if it’s a ghost?
Commonly artists are like children, believing in all kinds of magic things. But soon the mystery was uncovered when in front of him appeared two well fed rats with long tails. They had sparkly little eyes. The artist was not at all upset. He liked rats unlike most people. He considered that rats are very smart animals and not at all ugly. The arrival of rats could be a result of food smell reaching the attic where they lived. One rat was named by the artist Black Ear. The other a bit smaller was named Laura.
Since that day he didn’t feel as lonely. When he wanted to chat he called the rats by names and with time they started to understand him and reply to his calls. Sometimes he dedicated time to special training. The rats got used to him and was not scared. With a degree of pleasure and virtuosity they carried out any set assignment. And the artist sometimes was touched as how smart and apt they were. The rats perhaps were greatly surprised by how many pictures they have seen at the artist’s home. At their hole in the attic they had none. They almost got addicted to art. The artist probably realized that as on one good day, in honor of the anniversary of their friendship he presented each rat each with the painting. And than the rats understood that the artist was unusually talented as he managed to bring out all the rat’s essence and meaning in his canvases. The artist on his behalf respected his cute friends. As no other man he had learned about goodness, smartness and kindness of rats. Once they have saved him from horrific misfortune, a fire which could kill the artist, but more importantly all of his pictures. And this how it was: As soon as a burning candle fell to start up the fire with paper on the table, Laura miraculously ran up to the candle and overturned a staying close by can with water, used to clean watercolor brushes. And maybe if not this friendship of the artist and his rats, never the dear dream of showing the world the thousand pictures and pronunciation of his real genius would come true.
Text copyrights by Ellen Yustas Kotz-Gottlieb All rights reserved New York, 2014 send private comments to author Ellen Yustas Kotz-Gottlieb @ellenykg on twitter
pauljaisini.svbtle.com/an-artist-and-two-rats-tale-for-ch...
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,
medium.com/art-submissions/poor-little-web-thing-by-stell... Stelly Riesling: there's a subtle anti-consumerism statement in this work,
which is perfect for the holiday shopping craze, so i might as well mention it
here. much of what we own is made of plastic that is consumed ravenously,
thanks to super cheap labor overseas, so all the digital gadgets are as
accessible to the poor as the rich, and both are deceiving themselves in
believing their lives have more significance carrying these "mini super
computers" and being "connected" at all times to the rest of the world; giving
them a false sense of security; filling a massive void of loneliness in their
lives and hearts through an unrelenting need to be engaged in constant
activity to help escape the horror of reality, i.e. socializing... ironic
isn't it. So why are girls allowed to get away with bikinis vs lingerie...
i've seen plenty bikinis expose waaaaay more femininity than underwear and
bras, and i've seen girls strike poses more scandalous than cute yoga
stretches in their bikinis. it's the come-hither look that makes this "adult
content" - otherwise she's just a girl showing off her flexibility with the
whimsical idea that she hasn't grown out of her infancy when she did the same
exact thing shown here. why must artists ALWAYS take the heat for others'
dirty minds... by constantly discussing things that bother them in a highly
subjective manner, they're part of the problem in making everything wrong and
taboo by blowing things out of proportion, actively searching for black cats
in dark rooms where they don't exist and actually finding them.i simply had to
address an issue that has become a thorn in my side because so many people
can't or won't look beyond the 2-dimensional plane to which they're so
accustomed in society and media. i wish they would at least try to have a
semi-intelligent discussion with me instead of outright attack me or my work.
Blue Reincarnation Narcissus by Jaisini
The theme of Narcissus in Paul Jaisini’s “Blue…” may be paralleled with the problem of the two-sexes-in-one, unable to reproduce and, therefore, destined to the Narcissus-like end. Meanwhile, the Narcissus legend lasts.
In the myth of Narcissus a youth gazes into the pool. As the story goes, Narcissus came to the spring or the pool and when his form was seen by him in the water, he drowned among the water-nymphs because he desired to make love to his own image.
Maybe the new Narcissus, as in “Blue Reincarnation,” is destined to survive by simply changing his role from a passive man to an aggressive woman and so on. To this can be added that, eventually, a man creates a woman whom he loves out of himself or a woman creates a man and loves her own image but in the male form. The theme of narcissism recreates the ‘lost object of desire.’ “Blue” also raises the problem of conflating ideal actual and the issue of the feminine manhood and masculine femininity.
There is another story about Narcissus’ fall which said that he had a twin sister and they were exactly alike in appearance. Narcissus fell in love with his sister and, when the girl died, would go to the spring finding some relief for his love in imagining that he saw not his own reflection but the likeness of his sister. “Blue” creates a remarkable and complex psychopathology of the lost, the desired, and the imagined. Instead of the self, Narcissus loves and becomes a heterogeneous sublimation of the self. Unlike the Roman paintings of Narcissus which show him alone with his reflection by the pool, the key dynamic in the Jaisini’s “Blue” is the circulation of the legend that does not end and is reincarnated in transformation when auto-eroticism is not permanent and is not single by the definition.
In “Blue,” we risk being lost in the double reflection of a mirror and never being able to define on which side of the mirror Narcissus is. The picture’s color is not a true color of spring water. This kind of color is a perception of a deep seated human belief in the concept of eternity, the rich saturated cobalt blue.
The ultra-hot, hyper-real red color of the figure of Narcissus is not supposed to be balanced in the milieu of the radical blue. Paul Jaisini realizes the harmony in the most exotic colors combination. While looking at “Blue,” we can recall the spectacular color of night sky deranged by a vision of some fierce fire ball. The disturbance of colors create some powerful and awe-inspiring beauty.
In the picture’s background, we find the animals’ silhouettes which could be a memory reflection or dream fragments. In the story, Narcissus has been hunting - an activity that was itself a figure for sexual desire in antiquity. Captivated by his own beauty, the hunter sheds a radiance that, one presumes, reflects to haunt and foster his desire. The flaming color of the picture’s Narcissus alludes to the erotic implications of the story and its unresolved problem of the one who desires himself and is trapped in the erotic delirium. The concept can be applied to an ontological difference between the artist’s imitations and their objects. In effect, The Jaisini’s Narcissus could epitomize artistic aspiration to the control levels of reality and imagination, to align the competition of art and life, of image with imaginable prototype.
Paul Jaisini’s “Blue” is a unique work that adjoins the reflection to reality without any instrumentality. “Blue” is a single composition that depicts the reality and its immediate reflection. Jaisini builds the dynamics of the desire between Narcissus and his reflection-of-the-opposite by giving him the signs of both sexes, but not for the purpose of creating a hermaphrodite. The case of multiple deceptions in “Blue” seems to be vital to the cycle of desire. Somehow it reminds one of the fate of the artists and their desperate attempts to evoke and invent the nonexistent.
“Blue” is a completely alien picture to Jaisini’s “Reincarnation” series. The pictures of the series are painted on a plain ground of canvas that produces the effect of free space filled with air. “Blue,” to the contrary, is reminiscent of an underwater lack of air; the symbolic meanings of this picture’s texture and color contributes to the mirage of reincarnation.
“Blue Reincarnation” (Oil painting) by Paul Jaisini
New York 2002, Text Copyright: Yustas Kotz-Gottlieb
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