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DONT NEED EYES SEE PAUL JAISINI'S INVISIBLE PAINTINGS I'M FAKIN TRIPPIN IT'S BREATHLESS 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 Tecnique, Subcategory: Gif Tag: Manifesto, Image, Representational, Abstract, Gleitzeit Manifesto, Words, Color, Black And White, Face, Figure,
DONT NEED EYES SEE PAUL JAISINI'S INVISIBLE PAINTINGS
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.flickr.com/photos/eykg/24043037946/in/pool-14779806@N23/
AVATAR 3 INTERGALACTIC EARTH LIVE PLANET DATE 13430070620840 AD EARTH DEAD PRECONCLUSIVE DATES 9000 B.C UBER 4
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
ADULT CONTENT: the artwork of an image with no nudity is censored on www by the software recognition program www.artlimited.net/image/en/514108http://generationinvisi... www.flickr.com/photos/ellenyustas/15203025773/
“Art is not what it is – its what its not . Art- just a word . Great art its like hypnotism, that stays with u forever… take it from me- artist who overcame Visual Art. Invisible seems … Paul Jaisini”
#longcomment #comment #invisible art #theory of invisibility #art
“Well, folks, what if there actually was something called The Theory of Invisible Art?”
— One among many questions asked as a result of reading essays about Paul Jaisini.
#comment #? #Invisibility #theory of invisibility #invisible
Ron, Neil Klaw & Yustas are the same person.
Another Conspirator Theory Booooooog Ron, Neil Klaw & Yustas are not the same person. Pay attention, Neil doesn’t even like me. He said we are members of a “cloyingly narcissistic mutual admiration schtick” or words to that effect, and that is stiff business, coming from such as he. Klaw
But the real problem is that the entire thing is an auto-fellating sack of shit as description or criticism… I don’t think I’ll be buying the print or the book… 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.”
Okay Yustas, let’s get a few things straight. It is clear that you have issues, and you are attempting to drag this into a pointless gutter fight – as you have attempted to do with so many others. You are well known to operate for your own ends under several pseudonyms. Indeed, well over 12 months ago your writing and photographic practices were detailed at the club’s chronic journal . Indeed you do have questionable practices… I’m sure one or two celebs would be interested to see the manipulated images you have generated. But your calls for submission… That interested me! I have now discovered that you have spammed this request so often that Google identifies that you have pushed out the exact same post on more than 62000 occasions. Indeed in the club people have been extraordinarily tolerant of your practices…
#comment #gleitzeit
you have pushed out the same post on more than 62000 occasions.
From the previous post: “That interested me! I have now discovered that you have spammed this request so often that Google identifies that you have pushed out the exact same post on more than 62000 occasions.”
1997- ongoing statistics on Paul Jaisini, Marble Lady, Narcissus, Manifesto, etc. gleitzeit “hits” - number of page views, posts on the Internet, Internet searches, comments, emails, readership accounts to a substantial number. Documenting Gleitzeit is not done to acquire the exact number of Internet hits if it’s ten million hits or a hundred million. In the course of posting here the samples of how the Gleitzeit art mission formed the ideas I do see various numbers when google search fetches results on the keywords. Somewhere I saw “page view” counts in other places there’s sitemeters with over two million hits or 20,000. Most of the sites with essays could be found online or already removed since the websites now are non-functional and some content is archived some content is gone. As high as the numbers could go is not the concern.
Very interesting even mystifying for me to understand the human reaction and its mechanics of how and why people react certain way as they did and continue to react. The reaction manifests same way now as it did years ago so long as the formula remains the same: the receiver/reader is presented with the verbal description in a form of essay about oil painting by Paul Jaisini and no image of the artwork.
#outreach #invisible #Invisibility #theory of invisibility #invisible art
“I may not be able to tell you what good invisible art is, but I know it when I see it.”
#comment #invisible #invisible art
Schmoostis: get some help Do you really have nothing better to do than stir up problems on a board where no one wants you? Haven’t you figured it out yet? Don’t you see you are pushing your idiotic writing and pseudo-philosophy on people who couldn’t care less? Please—do yourself a favor and go somewhere else. We don’t care about your stupid art interest, your crappy writing or your need to puff up your own ego by sucking attention by stirring up decent people. You add nothing here, do you understand that? Your obnoxiousness has made you hated, don’t you see that? Please, before you are dragged out of your flee-bitten apartment by the scruff of your neck to the local mental institution, get some strong psychotropic medication! Leave these good people alone—find your attention someplace else. You don’t want to end up as just another bum muttering to himself in the New York gutter—you know—like Steve Martin in “The Jerk”— sitting in a bathtub mambling to yourself: “I used to be a well-known art critic and novelist and now I’m a basket case in the gutter.” Reach out and get some help before it’s too late.
#comment #invisible art #art #theory of invisibility
Catherine writes in regards to M/C Reviews Bio: Yustas has sent me some biographical info for M/C Reviews, which I’ve condensed to form the following: “Yustas Kotz-Gottlieb begun studying the piano at the age of 6, but when stage-fright prevented a career in music, she decided to concentrate on art. After a spell in Europe, where she was trained academically in painting, she found her true calling as a writer and art critic. Yustas is now working on a book about Paul Jaisini, the inventor of Gleitzeit art.”
#comment #photocopy #yustas kotz-gottlieb
I think the heart of what you are describing is the creative process, the act of carving, sculpting, bringing to life, something out of nothing. Gary/Harry was at his best when he made the comment about which side is up. But he became thin skinned when he thought I was laughing at (rather than with) him. Such a theory as you are involved with is easily misunderstood, and I think you are perhaps often misunderstood as well because you have no patience with fools. But if you take everything I said, in the context I said it, my musings in this area go some way to explain or at least to question just how man creates. I think you might do a screenplay about your experiences. It could be funny. Maybe you are right, maybe a book on art is the way to go. Or maybe, you could do an autobiographical book on your experiences. After all, in a sense, the poster is invisible. You are describing the experiences of an essentially invisible person in the electronic age. Have you noticed how differently people respond to you when you mail than when you talk? When people reply in writing, they tend to be boastful, arrogant, cruel, flaming… take Harry/Gary for instance. As a responder, he is often openly mean, snobbish and cruel. You saw him in real time, he is timid, uncertain and repressed.
#comment #invisible #invisible art
Ken writes regarding Manifesto Gleitzeit 3/21/00: You have the wrong number. There’s no one here with that neo pro anti (or whatever) anything. Copyright 2001 A Spacy Odyssey, (long version)
#comment #photocopy #gleitzeit
Ice writes on 3/3/00 the he enjoyed the Paul Jaisini Manifesto thing.
James writes re: Narcissus 3/3/00 Fortunately, the story is just that… a myth.
"Hey, Jaisini! It meant to be like your invisible paintings. If you can see beyond the black square (canvas), keep it." Kazimir's cat
1 OPEN YOUR EYE
Paul Jaisini destroyed all art.
Paul Jaisini He Paints Invisible Paintings Since 1994
20 years ago Paul Jaisini destroyed all of his critically acclaimed art.
2 VISION REDIRECTED
Paul Jaisini
HE PAINTS INVISIBLE PAINTINGS
IN THE KINGDOM OF BLIND THE ONE--EYED IS THE KING.
PAINTING OIL WAS HIS LIFE'S JOY. PERHAPS INVISIBLEPAINTINGS ARE MUCH MORE.
4 Wipe Out Rainbow
5 YOU WILL LIKE WHAT I SEE
6 MESSAGE SENT MESSAGE RECEIVED
7 PAUL JAISINI VISION BEYOND VISIBLE
HOMAGE TO PAUL JAISINI
INVISIBLE? ARE YOU BLIND OR EVEN DAEP? WHAT A TRAGEDY.
8 DONT NEED EYES SEE PAUL JAISINI'S INVISIBLE PAINTINGS
I'M FAKIN TRIPPIN IT'S BREATHLESS
Paul Jaisini is an artist and an occasional photographer. His invisible paintings are spectacularly ahead of our time.
9 Paul Jaisini It's Time Get Down To Earth.
10
I WAS POSSESED BY THE VERY THOUGHT START PAINT THE NEW INVISIBLE PAINTINGS I HAVE NO REGRETS OF WHAT I DID CUZ I DON'T EVEN REMEMBER... MY NEW INVISIBLE MUSE PAUL JAISINI
Paul Jaisini The Man Who Can See Future by GIG
Paul Jaisini is an artist and an occasional photographer. Paul Jaisini His invisible paintings are spectacularly ahead of our time.
11
Don’t be mad at me… I just finished my beautiful invisible painting .I ‘m so dirty /paint all over/ . If u can c it let me know what can u c in it?
12
SOMEONE LOOKING AT -- SOMEONE SEEING THAT
you asked me
September 7, 2010 at 5:35pm
PHOTOGRAPHY is to catch a moment. One photographer was asked how do you manage to do such photos, to which he replied, if you would walk around the world several times by foot and shoot thousands of rolls, you wouldn't ask, how I got few good shots. To catch a moment before digital era, with no softwares, people were risking lives. Now to realize any idea on photo paper enough to do several layers of elemets by software. Add them to the base image. But genius film photographers in my opinion are the people who using lenz through their mindwork created paintings. These are few you can count on your fingers. Contemporary photography IMHO is nothing but technical explorers, not artists. They don't own camera, camera owns them.
THE UNBELIEVABLE LIFE AND ADVENTURES OF PAUL JAISINI
FUTURE FOLLOWS
Worn Out Vision Replaced
To The Extraordinary Enigmatic Man Mr. Paul Jaisini.
Paul Jaisini The Man Who Can See Future
Paul Jaisini‘s Vision Future Redirected Since He Started To Paint Invisible Paintings In 1994.”
To The Extraordinary Enigmatic Man Mr. Paul Jaisini
Paul Jaisini is the Legendary New York Artist. When there's a topic on contemporary art and Gleitzeit Movement with the New Invisible Paintings by Paul Jaisini it brings in a lot of public attention.
The New York Based Gleitzeit International Group started its ground-breaking project in 2014.
PAUL JAISINI in THE ART WORKS OF GIGroup Titled Series "Homage to Paul Jaisini"
the most stunning images
after 20 years ofthe interaction on the topic of THE INVISIBLE PAINTINGS had been carried on mostly in the verbal form, We Are Currently Entering A New Phase To Learn How Visuals, Photos, Pictures, Computer Art is used instead of LANGUAGE.
The hardest thing of all is to find a black cat in a dark room, especially if there is no cat.” ?PAUL JAISINI Confucius
#ArtAndDesign
“HOMAGE TO PAUL JAISINI INVISIBLE PAINTINGS FROM 1994” IS A NEW ART COLLECTION OF UNIQUE ARTWORKS FROM THE SUPREMELY GIFTED YOUNG TALENTS. THE SPECTACULAR NEW ARTWORKS, WRITINGS, ANIMATED GIF SERIES AND DOCUMENTARIES ARE INSPIRED BY THE STORY OF PAUL JAISINI, THE GENIUS PAINTER AND NEW YORK LEGEND, 20 YEARS AGO HE DESTROYED ALL OF HIS BEAUTIFUL ARTWORKS. EVER SINCE PAUL JAISINI PAINTS THE ENIGMATIC INVISIBLE PAINTINGS. THE ONGOING ART PROJECT UNDER META CATEGORY IS TITLED: “ART ABOUT ART”
The Enigmatic New York Artist. 20 Years Ago He Declared Invisible Era. He Started Painting Invisible Paintings. The Zone Of Unfamiliar And Unknown. Paul Jaisini Destroyed His 200 Paintings. Once He Was Blind But Now We All Are He Declined Offers Of Major Art Museums
1994 He Started New Invisible Vision In Art
This Is How It All Begins by Stelly 2014
The hardest thing of all to find a black cat in a dark room especially if there's no black cat
The corporate genius who is scanning for intel is taking each word from this opus and implements it in business uploading my brain on his hard drive just in case if it would come up with more interpretations of the Invisibility that in terms of Mempire is M --invisibility of course)
Don't you bother, there's plenty of ancient philosophers, and since 3-D printer can recreate anything from a picture, do yourself a favor, get the Aristotle's brain uploaded, nothing to it, the machine would calculate his DNA by one-liner, ok, maybe by the whole chapter of the philosopher's own writing, it is free to public since reading books is still what everyone learn in school.
M-emperor takes Safari in Africa with subscription to his monthly phone service of free 90,000,000,0000,00000 minutes. comes in a package, hologram projector is installed in the phone, same as m-ovie and m-usic maker and 3-d printer. Full experience of true life safari adventures without leaving your favorite arm-air-chair.
Any adventure if you think of it. Not just African jungle. Best selling adventures are Oscar night in Hollywood, and you are the winner of the best m -- ovie of the eternity, year (the unknown number) Such adventure requires 20 digestible coins for the 1st award. next might cost more or one would work for it (alarmed by the phone to collect the cash coins when they are released by the adventure's benefit wheel)
More fancy adventures include those known as best photo ops. In strangely old-fashioned way it remains to be a vacation to Cancun, shopping spree in New York, etc.
New is the full convenience of the experience and instant broadcast of m-adventures universe -- wide as far as to Andromeda galaxy, with the new trillion subscribers to me-tube's channels where m-usic is m-ovies are watched and discussed by the Andromedeans who spread the word to their near by black hole planets.
The corporate genius is trying desperately to phone me.
Don't bother, I don't use the phone. He needs me to answer his most important question. Here, just stop dialing the number since it was listed before yellow books ceased their existence.
The most important question of me-oney. Where me-emperor earns me-oney to pay for the phone-service, since m-empire there is very little of products that 3-d printer can't produce therefore no need for anything except the m-phone.
Island Princess writes on 3/8/00 re: Marble Lady that she went out onto the net to see the paintings and couldn’t find them only found the reviews everywhere. “I am a writer and very often if I find a piece of art will build a poem around it…”
#comment #photocopy #marble lady #gleitzeit
I wish you would become more like your invisible art!
Yustas - go away! Yustas: This will be my first and only words directed to you I wish you would become more like your invisible art!
#comment #invisible art #invisible
The photo above is found at jaisini.artbabyart.net/.
Sometimes in first years of 2000 the website artbabyart asked for more content to upload the second page. First page with the essays was loaded around 1998-99.
The photos were added for presentation (tag #NewYorkcodepink) The way I know it is that Paul Jaisini is not the creator of the photos found at jaisini.artbabyart.net site. They signature JAISINI signifies he agreed to have some images on the website since the request for images was so massive. There’s no information on how these photos were created. On jaisini.artbabyart.net site they are called N-city photos and appear under a title “Who is Artist Paul Jaisini.” I know that placing visual images under such page name was on behalf of the webmasters erroneous assumption. Rick Santiago or whoever was in charge to upload content had seen what he thought was a signature of Paul Jaisini on the photos. That is how I understand why the photos are placed under a page titled “Who is Artist Paul Jaisini.” Fact is that the group of people together with Yustas Kotz-Gottlieb (Ellen Yustas K. Gottlieb) were involved with Gleitzeit outreach now and at that time. The name on the photos might signify that Paul Jaisini agreed with the images to appear on the Internet for presentation reason. I can’t say for sure that this is exactly what happened. As to how the webmaster of artbabyart site misplaced the photos is easy to assume that he/she wanted to make it easier for the visitors to navigate the site.
#outreach #newyorkcodepink #photo #nyc
something called The Theory of Invisible Art
Well, folks, what if there actually was something called The Theory of Invisible Art? What then? Whether you agree with it, or disagree…whether you like Yustas or hate her (we have some real haters here)… whether you understand it or you don’t… whether you choose to laugh at it or you don’t…what if there really was something called The Theory of Invisible Art? Okay, you don’t believe it, won’t believe it, your mind is closed on the subject. I can’t really believe that. If you’re not willing to set aside disbelief for even a moment to consider another point of view, you can’t be a serious writer. Come on now, assume for a moment that there just may be some serious thinking cast in this direction by a divergent group of fairly successful and prominent people in our society, including scientists, artists and sociologists. Now walk with me a little ways on this one…what if these thinking people were interested in the process of creating art, in how it went from chaos to beauty, from unformed to formed, from nothing to something, from invisible to visible? Can’t you see how such a thread deserves a bit more consideration than many of you have given it? I’m proud of the few of you who have been thoughtful enough to at least ponder possibilities and potential implications in terms of your own work. What, the scoffers say, might such a preposterous theory have to do with writers? Open your eyes, friend—just a few days ago, a writer posted complaining of writer’s block. And aren’t we always trying to evaluate good ideas, how to acquire them and turn them into novels, screenplays, short stories, essays? Well, along comes a theory that just might help some of you intellectualize the raw process…take another look. You don’t have to see a painting by Paul Jaisini to understand what Yustas is trying to tell you. Look for the sense, the meaning, the ideas that might help you to become a better writer and artist.
…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....
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
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.
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
the "adult content" Artwork: "Cyber Doll" Work By Stelly Riesling 2013 www.artlimited.net/image/en/514240
PROLOGUE
Paul Jaisini was like a messiah, as you wish, who saw/understood the impending
end and complete degeneration of Fine art or Art become and investment nothing
more than that. He predicted the bubble pops art when everybody would
eventually become an artist, including dogs cats and horses, because they as
kids followed the main rule: express yourself without skills or knowledge or
any aesthetic concerns.
J. Pollack started pouring paints onto canvases; Julian Schnabel, former cab
driver from NY, suddenly decided he could do better than what he saw
displayed in galleries, so he started gluing dishes on canvases;
A.Warhol, an industrial artist who made commercial silk-screen for the
factories he worked in, started to exhibit "Campbell's soup" used for
commercial adds... and later the thing that made him an "American Idol": by
copying and pasting Hollywood celebrities (same type of posters he made before
for movie theaters).
When Paul Jaisini stood out against the Me culture in the US by burning all of
his own 120 brilliant paintings (according to the then-new director of Fort
Worth MoMa Museum, who offered him an exhibition of his art in 1992, and later
the Metropolitan Museum curator, Phillippe de Montebello, in 1994).
Paul probably assumed all fellow true fine artists would join him or stand by
him against corruption of the art world.
And after 20 years of his stand-off...
the time has finally come today. Many artists and humanitarians around the
world took a place beside him.
His invisible Paintings became a synonym for the future reincarnation of fine
art and long lost harmony.
The establishment is in panic! The "moneybags" (as Paul Jaisini named them)
are in panic, because they invested BILLIONS of dollars in real crap made by
craftsmen. Now they realize that the reputation of American legends of
expressionism was nothing but a copy of Russian avant-garde" Kazimir Malevich,
Vasiliy Kandinsky and tens of others from France and Germany..
US tycoon investors were spending billions on "Me more original, than you".
"Artist Shit" is a 1061 artwork by the Italian artist Piero Manzoni. The work
consists of 90 tin cans, filled with feces. A tin can was sold for £124,000, 180,000 at Sothebys, 2007.
…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
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.
MANIFESTO GLEITZEIT 2014
"Hey, Jaisini! It meant to be like your invisible paintings. If you can see beyond the black square (canvas), keep it." Kazimir's cat
OPEN YOUR EYE!
Paul Jaisini destroyed all art.
Paul Jaisini He Paints Invisible Paintings Since 1994
20 years ago Paul Jaisini destroyed all of his critically acclaimed art.
VISION REDIRECTED
Paul Jaisini. HE PAINTS INVISIBLE PAINTINGS
IN THE KINGDOM OF BLIND THE ONE--EYED IS THE KING.
PAINTING OIL WAS HIS LIFE'S JOY. PERHAPS INVISIBLEPAINTINGS ARE MUCH MORE.
Wipe Out Rainbow!
“Paul Jaisini The Man Who Can See Future by GIG Berlin 2014”
“Much of the art I create is for a special, important cause— a new movement in art called Gleitzeit that I believe is the answer to all our prayers. I believe in it like in a whole new and improved religion; a radical concept for the future that is not discussed in depth because the followers have decided to keep it on the DL for now, waiting patiently for the right moment to strike and move in full force. right now it is a spark waiting to ignite the gas that has been seeping into the cyber air slowly but surely. I promise it‘ll be something spectacular and so worth the wait! Stelly Riesling”