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homage to Paul Jaisini 37 pjaisiniinvisiblepaint2014cat paul-jaisinikazimir'scat-series-art-studio-stelllyriesling Artworks Series Homage to Paul Jaisini, Invisible Paintings from 1994 by Gleitzeit International Group NYC All RIGHT RESERVED COPYRIGHT
carolinegoeshome.tumblr.com/post/108394902136/stellyriesling
Drop your digital gadget and grab onto the balloons with both hands so you’ll have enough strength to hold on as they carry you to far and wide places of tremendous beauty and wonder.you’ll have enough strength to hold on as they carry you to far and wide places of tremendous beauty and wonder.
Hold onto your gadget for dear life more than the balloons that keep you afloat. Let the weight of it (depicted in this image as very heavy) cause your hand to start slipping from the ribbons while growing weaker by the second. Without the support of the other hand holding the gadget, there is no chance you will hang on long enough to get to the destination of your dreams. The videos, images, and selfies you managed to take along the way, the continuous updates of this magical journey, on a minute by minute basis — you’re more preoccupied with those things than seeing and enjoying the spectacular sights around you in all their real life glory with your own two eyes instead of through a screen. If we don’t let go of our precious technology, of the belief that we can’t exist or have no purpose without it, our soul will never reach the elevation it craves, the freedom from eternal return — unbearable lightness of being.
But that’s not good enough for you to give it up, no way! Fuck these evil balloons for just snatching you up and taking you away from your cozy little comfy zone… your beloved little world of chasing sweet little pleasures that act as fireflies, or sometimes, like scattered marbles over a frozen lake. And so down you fall… down…down… into a cold, wet abyss. Ah, the ocean. Home sweet home. Some sharks picked up your scent and are swimming around you now. Yay for the perfect lastie! That’s not exactly what this work is about, just my own interpretation of it today… medium.com/art-submissions/hold-onto-your-gadget-for-dear...
Marble Lady painting by Jaisini
**Editor’s note: This file has an interesting story. Apparently, this guy, Mr. Kotz-Gottlieb (“Gottlieb” meaning ‘God-love’ in German), has been mass-spamming art websites, guestbooks, e-mails, and newsgroups with his attempt to spread the word of fine art to the masses. And it is with great pleasure that aNAda was sent one of his letters, and it is with even more pleasure for us to post it here today. Yes.
www.cyberpages.com/dopoem/poem?id=11711&prevurl=%2Fdo...
www.poetry.com/historical_users/6983757-Yustas%20%20Kotz-...
web.textfiles.com/ezines/ANADA/anada027.txt
Web search will bring many results with various key words entries.
www.myboe.org/portal/default/Resources/Viewer/ResourceVie...
The Web site, from Yustas Kotz-Gottlieb, is a discussion of book he wrote on art of Paul Jaisini. The page includes commentary on Jaisini’s various works, including Marble Lady.
www.adaweb.com/nota/messages/read_ada8.html
Monday 26 April 1999
#outreach #google search #gleitzeit
Open Mind — See Future — Behind Curtain — Now
Homage to Paul Jaisini By Gleitzeit International Group 2014
WET DREAM, Oil painting by Paul Jaisini
Wet Dream, an oil painting by Paul 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. Paul 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, Paul 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.
Paul 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, P. Jaisini employs his mind to complicate and develop the subject of desire.
In Masson’s erotic series, the only sentiment is the libidinous desire. Paul Jaisini reflects a different time and epoch that is not satisfied with the simple approach. Paul 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, P. 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
Copyright ©2015 Yustas Kotz-Gottlieb. All rights reserved. New York
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
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.
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
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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