FakeRoberta Smith

@NotRobertaSmith NOT Roberta Smith an art critic for NYTimes since 1986. Roberta Smith lives in NYC but not with her husband Jerry Saltz.

[paul-jaisini-artist]

[pauljaisinivision]

diamond heart golden mind obliterates gold holiday edition art gif

[pauljaisini-invisiblepainting]

Had to share this @WeHeartIt

[paul-jaisini-art]

#nyc #rockefellercenter #vintage 

[epicinvisiblepauljaisini-bl-blog]

[homagetopauljaisininvisible]

[gleitzeitintergroup]

[invisiblepaintingjaisini]

[gleiteitinvisible]

[giginter-blog]

optical eye by Ellen Yustas K. Gottlieb

[jaisinipaulinvisible]

#gif #gifs #process #artgif #rose #roses

[epicinvisiblepauljaisini-bl-blog]

OPEN YOUR EYE! SEE BEHIND CURTAIN NOW! GLEITZEIT MANIFESTO HOMAGE TO PAUL JAISINI

[giginter-blog]

[gleitzeitfunarts-blog]

[kazimirmalevichkat]

gifhomage-to-Paul-Jaisini-star11

[beachdiva90]

#falling-diamonds #diamonds #diamondstyle #brilliant #brilliant-style #luxury-style #homage-to-jaisini #artgif #gif #diamonds-background

[pauljaisinicitrine]

alien-hands-hidden-message-canvas-invisible-futuristic-paul-jaisini-art-gif-stellyriesling-unique-fineart by David Wright Via Flickr: Cluster meanings People perceive reality as cognitive psychology explains thinking through clusters of formulated meanings. The whole style of painting Jaisini built is based on creation of such clusters that contain information for the eye and the mind. The picture offers certain clues. The picture’s puzzle could adjust to the viewer’s capacity to see the idea, connection between reality and artistic puzzle-like formula. The coherence of picture could be reached through different approaches, either thinking or seeing, maybe by intuitive comprehension or knowledge. Jaisini’s line clusters do not claim to construct reality. They aim to present us with an alternative connection with reality. It is a self-conscious exercise of seeing but not believing, supposing but not sensing, feeling but not perceiving. Jaisini motivates to experience many levels of self-conscious exercise. He triggers off the viewer by a puzzle and new transformation of a myth, by new variations and relations of colors, by exchange of shapes with void and spatial intrigue of linear spontaneity creating a session of hypnosis with a purpose to bring the viewer’s eye to a level of sophistication comparable to the artist’s. Jaisini sets priority of significance on linear spontaneity such as free flow, causality of the line together with color purity and spatial intricacy. At the same time conceptual activity of meaning-creation is a brain teasing game that can take turn or even put aside formal exploration of the painting. It was set so by the artist for the viewer who gets tired seeing an option to start reading. Great achievement of Jaisini is the mastery over causality, elimination of any artificial rigidity, non-tension of linear plasticism that is a great tool to cultivate subconscious comfort and willingness to further understanding of art. Line enclosure is an element of externality (the artist’s command). In postmodern art such external command of an artist’s hand was abolished due to the lowering of painting quality standard and discourse into over mechanization with hollowing of the meaning and reduction of painting to a color pallet as a decorative spot or introverted symbol. The weak side of such style is yearning for addition, necessity to place another painting next to it and more of different styles in order to stimulate the postmodern painting’s presence with lost meaning, reason or fashion. In decorative purpose like that point of true creativity is missing altogether. A possession of a true art piece is comparable to possession of relic that works in mysterious way bringing luck to the house, creating new stories to tell. In this respect a painting by Jaisini eliminates artificial rigidity. It is an exhibition in itself said by the owner of a gallery who is experienced in evaluating visual effect and compares one painting with an entire exhibition. I as a writer found that Jaisini’s pictures capable to capture interest of a beholder to the point of desire to start studying art to better understand the complexity of one painting. In Jaisini’s case one wouldn’t say, hey, I could paint like that. Jaisini himself pointed out that it’s almost impossible to repeat painting or remember the way he had painted his picture. Structure of style’s elements to create formal meaning coherence

[weirdgleitzeit]