Paul Jaisini is very upset with this sort of art gifs spreading around like wild fire in his honor — but he is not in the know about the trending, hype and other pleasantries of the free for all dimension. So, we had figured, why would we push the fine art agenda, if all people want to see is the superficial material stuff… Paul Jaisini is somewhat mad at GIGNYC for posting a lot of various art gifs, but we won’t stop, he had inspired it. If, perhaps, the master returns to paint and make the whole world happy again, we will stop spreading the mad fun of sticker gifs, not even animation. It’s quite amazing, that people can no longer tolerate anything more except instant pleasure of seeing something very posh and comforting…. To be continued. Here will be posted more screenshots with real numbers of current views! ENJOY!
In 1994 we had published Manifesto Gleitzeit, that claimed how the working man will turn into an artist. Paul Jaisini Manifesto Gleitzeit 1994 NYC Gleitzeit style based on depiction of visual flexibility with theoretical flexibility. A painting which purpose is to achieve composition of enclosure.Art based on the depiction of a circle evolution of understanding and seeing. A kind of art which draws upon imagery and seeks to reveal and abstract idea of the connection within. It’s flexible because it has multiple principles.Paintings with a capacity to change visually by the artistic magic changing your subconscious mind. It is a session of Hypnosis which controls you by a disorganized absolute harmony of everything expected from a “nonexistent” picture.It depends upon the pattern of line as a primal creator of whatever associated or disassociated from the theme. The artist’s mind is the superior beginning of the line, but the line is free and emancipated. Flexi is a new neo-pro-anti-post. Circa 1998
The long version of the manifesto includes more detailed explanation, on why the working people would succumb to art! Now the gleitzeit prophecy is too real and grotesque. But we will enslave the people-folk-wannabe-artist, by offering the sweetest poison for the eyes! However, there’s a certain decline in the state of Fine art. It happened by the dialectical reasons. Nothing diabolical, but people get involved with the Visual. not knowing that being a real artist is not even up to the best education and desire… There were very few genius artist, Paul Jaisini is one of the those. They had different motives to be involved with the Visual, nothing personal. Paul Jaisini is here. he is one and only art prophet, that could maybe somehow lead the enlightened few out of the present state of visual chaos. We need to learn from him the Invisible painting style! And it will bring us back to the true, one and only creativity, that is true, without reasons and entertainment… To be continued with a lot of revelations about visual state of art affairs! LOVE and PEACE !
Paul Jaisini loves to paint more than anything in the world. His sacrifice to not paint is not something we could ever understand or justify. He had explained, that is not aware — why he gets his absolute understanding of the world’s state of affairs. why he knows ahead what will come. He is very unlikely to be a real life prophet. Still he has an incredible inborn predisposition to be able to know everything, before it happens. Some psychic suggested once that in fact Paul Jaisini is very unusual man, what is seen in his horoscope and mental abilities… There is a book that tells the story of his life.
The theme of Narcissus in 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 Jaisini’s “Blue” is the circulation of the legend that does not end and is reincarnated in transformation when autoeroticism is not permanent and is not single by 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 ultrahot, hyperreal red color of the figure of Narcissus is not supposed to be balanced in the milieu of the radical blue. Jaisini realizes the harmony in the most exotic color 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, Jaisini’s Narcissus could epitomize artistic aspiration to control levels of reality and imagination, to align the competition of art and life, of image with imaginable prototype.
Jaisini’s “Blue” is a unique work that adjoins reflection to reality without any instrumentality. “Blue” is a single composition that depicts the reality and its immediate reflection. Jaisini builds the dynamics of 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 this series are painted on a plain ground of canvas that produces the effect of free space filled with air. “Blue,” to the contrary, is reminiscencent of an underwater lack of air; the symbolism 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 ALL RIGHTS RESERVED
