tag:pauljaisini.svbtle.com,2014:/feedPaul Jaisini2014-08-20T04:00:35-07:00Paul Jaisinihttps://pauljaisini.svbtle.comfanola2012@gmail.comSvbtle.comtag:pauljaisini.svbtle.com,2014:Post/blue-reincarnation-narcissus-oil-painting-by-jaisiniby-ellen-yustas-kotzgottlieb2014-08-20T04:00:35-07:002014-08-20T04:00:35-07:00Blue Reincarnation Narcissus Oil painting by Jaisini
by Ellen Yustas Kotz-Gottlieb<p>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.<br>
Maybe the new Narcissus, as in “Blue Reincarnation,” is destined to survive <br>
Narcissus 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. B raises the problem of conflating ideal actual and the issue of the feminine manhood and masculine femininity. B 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.The key dynamic in B 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 B, 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. Paul Jaisini realizes the harmony in the most exotic color combination.Recall the spectacular color of night sky deranged by a vision of some fierce fireball. The disturbance of colors creates 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. 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 his own self and is trapped in the erotic delirium. <br>
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. B 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. Paul 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 fates of the artists and their desperate attempts to evoke and invent the nonexistent.<br>
“Blue” is a completely alien picture to Paul 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 reminiscent of an underwater lack of air; the symbolism of this picture’s texture and color contributes to the mirage of reincarnation.</p>
<p>Ellen Yustas K Gottlieb is a novelist who writes occasionally art reviews. She writes only about art that inspires her. While not working on a novel she finds it quite captivating to work with artists. She was educated in classical music and visual art.</p>
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tag:pauljaisini.svbtle.com,2014:Post/an-artist-and-two-rats-tale-for-children2014-08-13T12:07:14-07:002014-08-13T12:07:14-07:00An Artist and Two Rats – Tale for children
<p>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.<br>
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.</p>
<p>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?</p>
<p>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.</p>
<p>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.<br>
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.</p>
<p>Text copyrights by Ellen Yustas Kotz-Gottlieb<br>
All rights reserved New York, 2014 send private comments to author Ellen Yustas Kotz-Gottlieb @ellenykg on twitter</p>
tag:pauljaisini.svbtle.com,2014:Post/gleitzeit-interactive-92014-07-31T09:50:00-07:002014-07-31T09:50:00-07:00GLEITZEIT INTERACTIVE IX<p>91<br>
2/23/99<br>
Stefan: I am the gleitzeitgeist</p>
<p>92<br>
3/14/99<br>
Wolfgang: I still don’t understand what “Gleitzeit” has to do with <br>
a missionary issue. This word is used only in regard to working times <br>
in a company and means that employees can choose a certain frame when <br>
they want to work.</p>
<p>93<br>
7/8/99<br>
Mike: After reviewing the essay on Paul Jaisini’s painting <br>
I’ve come to a clear understanding of Gleitzeit. It is the immanence of consciousness in the apparently coincidental combination of details <br>
within the material manifestation</p>
<p>94<br>
I am the “Drunken Santa”</p>
<p>95<br>
4/14/99 <br>
Marcus: I have found some of the points laid with the ideas <br>
of Gleitzeit interesting the theory of circular evolution of sight and seeing.</p>
<p>96<br>
3/2/99 <br>
Stefan: With visual art we’re obviously dealing with a different <br>
language than our verbal one.That’s what’s nice about visual art.</p>
<p>97<br>
8/8/99 <br>
groucho1: To be a narcissus is to view oneself with unconditional love. <br>
In a mirror, in a pool of water. And in so doing, the narcissus sees both <br>
the male and female that is in all of us, exemplifies: a personalization of Yin and the Yang. No legend there only total truth in the eyes of the beholder.</p>
<p>98<br>
2013<br>
Generation Invisible: One still wonders how did this happen that <br>
someone wrote back such long comments after the email reached the <br>
unspecified recipient not someone who was known personally to the email sender.<br>
Why a complete stranger who was online on the early Internet of 1997-2000 was willing to engage in the prolonged dialogue about art. Would that be the case in real time, face to face, or in any pre-Internet way of communication?</p>
<p>99<br>
9/20/99<br>
Mike: The artist’s ideals and his conflicts/interrelationship with practical <br>
hard reality and materials are perhaps at the core of the creative and <br>
expressive act.</p>
<p>100<br>
4/1/99<br>
Anthony: regarding Talk Show essay I quote: “society is seemingly imploding from its own critical mass.” What does that really mean? If Cicero thought that <br>
society was dumbing down, how do we continue as society? The problem lies in the word continue. There is only the now. There is no past.</p>
<p>101<br>
Angela: to her email with Manifesto Gleitzeit is most mysterious message <br>
like a moment from Steppenwolf in which a golden door appears where it never existed before.</p>
<p>102<br>
While I did enjoy reading your essay, and found it rather beautifully written</p>
<ul>
<li>I’m puzzled as to why I’m on the receiving end of it – art – critique - spam?
how avant-garde… :)</li>
</ul>
<p>103 <br>
2013<br>
Generation Invisible: In 1997-99 email spam was a hot topic. <br>
The emails with enclosed art essay didn’t really fit the definition of <br>
“true” spam as it didn’t offer any commercial product.<br>
Someone who wrote the above comment had decided that a <br>
“neo-spam” email with art critique was in fact an action <br>
that could be considered in true spirit of avant-garde.</p>
<p>104<br>
I am interested in your manifesto, but I have a question. <br>
What is wrong with having a beginning and an end?</p>
<p>105<br>
2013<br>
Generation Invisible: To answer the question “What is wrong with <br>
having a beginning and an end?” that at first might seem rhetoric it<br>
would be necessary to acquire in depth understanding of Paul Jaisini’s <br>
Gleitzeit period and the Invisible Painting period.</p>
<p>106<br>
5/3/00<br>
Laurent: To me there’s not been a painter since Francis Bacon’s death. <br>
I might be wrong (in a way, i even hope so!), but I deeply think that <br>
this whole contemporary art is but a mirror reflecting in another <br>
millions of images, no content. </p>
<p>107<br>
6/21/00<br>
Charlie: reMarble Lady essay: My eyes have been opened, suddenly I can see. Some very controversial statements although on the whole a most <br>
absorbing paragraph. I suspect you are the beast who has been watching <br>
me from the unmarked Ford Fiesta which has been parked across the road<br>
for the past 2 weeks.</p>
<p>108<br>
5/9/00<br>
Suzanna: in reference to Blue Reincarnation Narcissus I have never seen <br>
the painting, but your descriptions of it engendered a vivid mind picture. <br>
It was almost as if I could see it…</p>
<p>109<br>
5/2/00<br>
Jonathan: in reference to Narcissus. These images you write of I’m <br>
beginning to think maybe don’t actually exist: rather they are figments <br>
of your imagination. You make them up. You write of them and they don’t <br>
exist although they are real enough by how you write of them.</p>
<p>110<br>
5/31/00<br>
Barb: I had just realized that you are creating the image of the mind, <br>
a topic that a few of my collegues and I had just debated not so long ago. <br>
As with literary artists, they create the image in the mind, so, they are <br>
both visual, and as well performance, as the mind creates that which would <br>
have been in existence.</p>
<p>111<br>
2011-12<br>
Paul Jaisini: Singing louder - singing better? Kicking higher - <br>
playing better? Splashing paint - painting better?<br>
Better none than nothing better!</p>
<p>112<br>
1999<br>
I thank you for your interpretation between reality and illusion <br>
as viewed in any single eye of sight, belief and total understanding <br>
of the concept of two types of spectatorship: the masculine and <br>
the non-masculine. I, with some knowledge about the Greek myths <br>
and the idealism of Pygmalion…</p>
<p>113<br>
6/7/00<br>
Philip: You will tell me how to see this painting OR take me off <br>
this list OR I will be in contact with a lawyer and he will call your isp.</p>
<p>114<br>
James: in response to Freedom of Thought. This work you describe sounds <br>
far too allegorical and pedantic to be taken seriously… however in the absence of the actual image it is difficult to comment on much further. You make no comments on the work’s brush work (I am assuming that it has been painted), how the manner of its execution works in harmony with the <br>
iconography and symbolism, nor is the work put in the context of other artists or movements that the artist has been influenced by or is currently working alongside. This would go a long way to giving the work and your writing greater credibility. You are describing something in a vacuum… a one of visual interpretation of the painting, something almost any of us could do. What you need to do for a reader is put the work into a context… either personal (the background and intent of the artist)… or social (the context <br>
of the time, place and circumstances in which it was produced)…. this is something the artist often cannot do… but which a viewer may wish to know to more deeply understand the work.</p>
<p>115<br>
Re: Freedom of Thought painting by Paul Jaisini. You are a clearly gifted beautiful writer however your friend Paul Jaisini is a twisted pervert of the dirty rain coat flashing variety in a subway; nothing remotely redeeming about fancying himself in a prison rape scene except worthy of serious therapy.</p>
<p>116<br>
Do you refer to something I can’t ever see - the art itself? And my confusion a reaction? That reaction part of this art? Or are you doing this for no reason other than to confuse me? Please no more word pictures, you are just picking my brain!</p>
<p>117<br>
1/13/00<br>
Richard: regarding Paul Jaisini Manifesto Gleitzeit<br>
… reality is too complicated to sat anything abstract is for certain.</p>
<p>118<br>
It’s been eons of years ago since your last contact. Maybe you’re busy. N-ways, I want you to know that I’m still in existence and craving for all the information you’re passing on. Your friend from the other side. From my brief perusal of your writing, I think you and Paul Jaisini are nuts. Of course, if this is not some sort of joke. Is there really a George W. Bush or is this person a clone created from the former president? I envision a world of clones, good and evil. We all look to the heavens for relief from the stress, which will be created by the new species. Will it be good or evil? Only an artist such as Yustas can project that which we cannot see. Do I get a t-shirt for this? Who in the hell would read this book? But once they find out that I may have a line or two in it they will be pleading for it. Will this book be written on toilet paper?</p>
<p>119<br>
Evidently my comments, like the artist’s work, are not seen with <br>
the eyes but the inherent truth can be realized intuitively. <br>
Arts and virtuality are brothers in the galaxy of perspective. <br>
Love how the intensity bends to accept the opium of everyone’s dreams…. <br>
excellent work Yustas! I have just finished checking out your site <br>
and fully understand it. Is that scary or what. It is great that you promote a site with various aesthetics, and surreal images. Whether they are subliminal or simply suggested, does not give one the notion to try find it in the mind. <br>
It would help to visualize the actual paintings, if they do exist. <br>
The rhetoric of essays explain their history, but do nothing for the senses.<br>
It is better to actually see the abstract within one’s own frame of mind. <br>
One picture at a time. Can you say that one needs to believe a painting <br>
exist if one says it does…</p>
<p>120<br>
1999 <br>
Anataalie’s Dream plantation - a story by Brigitte Rahman <br>
inspired by the essays on Paul Jaisini’s oil paintings.</p>
<p>121<br>
5:22:00 <br>
Philip: he thinks the ambition to bring high aesthetics closer <br>
to people seems admirable, no doubt a worthy goal, yet it is not easy to accomplish.</p>
<p>122<br>
5/19/00 <br>
Ben: re essay Narcissus, the images and the paragraphs do not connect <br>
with a theme or a line or even a train of thought that allows the reader <br>
to be drawn from point to point evenly and progressively.</p>
<p>123<br>
2010-12<br>
Paul Jaisini: Art makes our existence to the end way more colorful.</p>
<p>124<br>
5/17/00<br>
Josh: in regards to Paul Jaisini Gleitzeit Supermoderniti Manifesto (short version)<br>
Where can I see an artwork that is flexible and has multiple principles?</p>
<p>125<br>
1999<br>
It is quite clear and at the same time unclear (I’m sure you understand and do not understand what I mean),your manifesto was an absolute assurance of your ever vortexing spiral into an event horizon of madness. Once you enter there is no escape. The crushing gravitational darkness will destroy all that you are and are not. A wormhole in time and space may form after you are crushed and mangled. All that remains are your energy that cannot dissipate, only transform. Hopefully for Planet Earth, your energy will transform far away on another planet where your insanity can be appreciated for the true crap that it is. Cause it sure as hell ain’t worth a hill of beans here. You might see a hill of beans as something other than most people do, but probably you get the point. I think you have a large nipple on the top of your head because <br>
you are a giant boob. May the “FARCE” be with you. Artists are often like Catholics - figure it out.</p>
<p>126</p>
<p>In response to Gleitzeit Manifesto he/she writes circa 1999: “…your manifesto was an absolute assurance of your ever vortexing spiral into an event horizon of madness.”</p>
<h1 id="comment_1">comment <a class="head_anchor" href="#comment_1">#</a>
</h1>
<p>6.15.00<br>
Brigitte responds in writing style characterized with intimate and personal romantic tendency and intention to write as “intellectual seduction.”<br>
“I will never believe that a great artist, a true artist after finding the TRUTH will survive and continue to grow, he will die… And that explains why so little of us go after it..”</p>
<h1 id="brigitte-62800-brigitte_1">brigitte 6/28/00 Brigitte <a class="head_anchor" href="#brigitte-62800-brigitte_1">#</a>
</h1>tag:pauljaisini.svbtle.com,2014:Post/gleitzeit-interactive-82014-07-31T09:45:16-07:002014-07-31T09:45:16-07:00Gleitzeit Interactive VIII<p>73<br>
2013<br>
Generation Invisible:<br>
Postmodernism attacks and destroys authenticity. There’s no reality, no time, and no subject, or project. Therefore same as in art so in social the identity is in crisis of not forming, never being born in the post-modern conditions. Instead of the identity there is a system, a simulacrum in the multiplicity of multimedia that has no content, shallow and empty.<br>
Modern art is based on a failed philosophy of creating a utopia.<br>
The Paul Jaisini art is the supermodern that resolves a problem of conflicting and incompatible concepts of beautiful, just and objective.<br>
Paul Jaisini finally resolved what separated art movements by the principles <br>
of Modern from Classicism and Post-modernism.</p>
<p>74<br>
4/30/00<br>
Mandar: it is not very easy to imagine the painting simply by description. <br>
As they say. An image speaks more than a 1000 words.</p>
<p>75<br>
Puck: all artists, even if unaware of it, create through the presence of experience - either, personal or observed. To have a different perspective does not necessitate that perspective being nonexistent.</p>
<p>76<br>
July 16, 2003<br>
Mathew: As an artist and a writer, both of which I have done professionally, <br>
it is VERY hard for me to “get meaning” or “derive an absolute truth” from art <br>
(or even writing for that matter). Once something gets ‘artsy’ I tend to loose interest. </p>
<p>77<br>
Thanks for the art deconstruction. While I may not agree with few of <br>
the elements of it I found it really interesting. If you have any more of <br>
these please send them to me. I enjoyed reading this, it made me want to <br>
look at the painting but feel I already had…</p>
<p>78 <br>
circa 2010<br>
Paul Jaisini: Art is not what it is - its what its not. <br>
Art - just a word. Great art its like a hypnotism, that stays with u forever. Nothing personal. Just take it from me - the artist who overcame Visual Art. <br>
Invisible seems … </p>
<p>79<br>
2000<br>
Is the disfunctionality of the site intentional? I would add that <br>
in my estimation, bringing high aesthetics to people must be an <br>
unrewarding task, even as a noble one. People don’t really care much <br>
for aesthetics or any other word of three syllables. They prefer to <br>
be brainwashed by the easy and instant solutions the television provides. <br>
Aesthetics, like religion is in a state of decline. They have been <br>
replaced by the aforementioned television and by drugs (most notably <br>
opiates, psychotropics and anti-depressants). I think one can infer from <br>
this that the soul of humanity is in decline, because everyone knows <br>
that they have no control over the machinations of their leaders anymore <br>
and will seek any way to escape their conclusions. It is also a way to <br>
escape what they can’t understand.</p>
<p>80<br>
2012<br>
Paul Jaisini: Contemporary craftsmakers aka artists don’t know how to <br>
do fine art, but “super-intellectuals” and “moneybagss” do know how to <br>
do virgin brains. I call it - art of witchcraft. </p>
<p>81<br>
2012<br>
Paul Jaisini:<br>
hahaha! Re Modernist is out of control. Why he is quoting my 15 years <br>
old interview? Now I see it as amateurish point of view, but the overall<br>
idea still can be… Thank you Re Modernist for creating such a party with my quote (where did u get it?) </p>
<p>82<br>
1999<br>
Aldis Browne: I was so moved, so deeply touched by the lyricism of your perceptions of Hot Dog Party that I searched the web to find others of your eloquent reviews. <br>
So far I have located your Manifesto - Marble Lady - Blue Reincarnation - <br>
Wet Dream - Freedom of Thought - Talk Show - and a review of an untitled Jaisini prison painting. I am reminded of on early exhibition of conceptual art <br>
hosted by the - Freedman?- Feldman? - gallery at, say, 17 West 57th Street<br>
in the late 60’s. The exhibition was launched with extensive press <br>
kits detailing the biographies of the 6 or 8 participating artists, <br>
packed with glossy 8x10 prints and transparencies, and launched with a <br>
substantial advertising campaign. In fact a number of reviews were written <br>
by critics of art magazines and neighborhood newspapers, most raves, a few <br>
mixed, one or two negative. When no advertising bills were paid it was, as<br>
I recall, first the NY Times who called only to get a recording that there <br>
was no such working number, sent someone from the business office to collect - at which time it was found that there were no such artists, no Freedman or Feldman Gallery, in fact no 17 West 57th St. I have not been impressed by much conceptual art since then, until Paul Jaisini. Thank you for bringing his remarkable talents and perceptions to my attention. </p>
<p>83<br>
1999<br>
Tara: that she can almost see the painting “Blue Reincarnation (Narcissus)</p>
<p>84<br>
4/30/00 <br>
webmaster with numbers of the “hits” ie: each time a page is accessed <br>
it’s counted. Total hits on the Blue Review (he means Blue Reincarnation, Narcissus) average between (number) an issue.</p>
<p>85<br>
August 07, 2003<br>
Wanna: Oddly enough, I do subscribe to “Penis Power Quarterly.” I used to<br>
get “Respect the Cock” Monthly, Nowadays I only get it when they print the <br>
bi-annual “Tame the Cunt” special edition. </p>
<p>86<br>
August 24, 2003<br>
Bob: So far. All the writing about invisible art is like a self parody. <br>
Good for a chuckle, but as serious as a one-liner. <br>
Is Paul Jaisini book copyrighted?</p>
<p>87<br>
6/19/00<br>
Dr. Arnold: This is first time I come across “Gleitzeit”, and I can’t <br>
really figure out what it is. If it is German - what it seems to be - it means “sliding time”, but even this translation doesn’t help me understand it.</p>
<p>88 <br>
5/2/00<br>
Michael John: The essay about Paul Jaisini’s “Blue Reincarnation” <br>
is rather obtuse, in light of the fact that you didn’t also send a copy <br>
of the aforesaid image. I must therefore regard the essay as the work and <br>
not the “Blue Reincarnation”.</p>
<p>89<br>
Your repeated comments about Narcissus and narcissism are very interesting. I admit that I am a narcissist, I love myself, my physical reflection and my works, which are another reflection of me.</p>
<h1 id="comment_1">comment <a class="head_anchor" href="#comment_1">#</a>
</h1>
<p>90<br>
August 07. 2003<br>
Ellen Yustas K. Gottlieb: Let’s say that art is better then weapons and if artists <br>
were allowed to create maybe even Hitler wouldn’t be the maniac and just <br>
exhibit his works. But when artists are ostracized it could get ugly. Possibly <br>
that is why there is a postmodern art that is an open statement on how much <br>
artists hate society.<br>
I like commercial art if it’s good. Some commercials on television are <br>
more creative then Broadway shows for tourists that denounce theatre.<br>
I know a New York writer who has to work as a laborer moving furniture <br>
to earn a living writing for newspapers.<br>
Social change would also contribute to what is considered as valuable in arts <br>
thus what is paid for with a lot of money would turn into the classic art.<br>
Postindustrial society is not going to be changed into paradise any time soon.<br>
I have many of my personal conclusions and thoughts in a novel that at the <br>
same time could be deemed commercial having murder, sex and futurism.<br>
The art book about Paul Jaisini is art for art’s sake therefore I have to <br>
publish it probably not as a writer but as a publishing house so it seems.<br>
Thank you for your contribution to the dialogue.</p>
tag:pauljaisini.svbtle.com,2014:Post/gleitzeit-interactive-72014-07-31T09:42:38-07:002014-07-31T09:42:38-07:00GLEITZEIT INTERACTIVE VII<p>60<br>
I am the full time chief editor of an imaginary magazine. <br>
I found your works transparent.</p>
<p>61<br>
Yustas weaves an intricate lace, the paradoxical dialogue about mystery of Paul Jaisini through the many voices of real people. They express many opposing opinions interested and intrigued with the elusive artist who is considered by the art establishment to be the most original artist of our times.</p>
<p>Paul Jaisini, indeed surpassed many with his unique vision of the new art of New Millennium in most captivating adventure as we search to uncover the mystery of invisible art.</p>
<p>Are these articles pranks? Someone asked.</p>
<p>The other responds: An invisible painting may not be anything, but it could be the way you look at things.</p>
<p>Is this an imagined painting, brought forth from the words?</p>
<p>Is there really an artist by the name of Paul Jaisini, or did you just <br>
make him up through your writing?</p>
<p>What is invisible painting?</p>
<p>Does Paul Jaisini actually exist? Or is he a surrogate, or even an alter ego who makes art?</p>
<p>There is an invisible Jaisini and his invisible paintings “Marble Lady” and others. And it’s haunting your mind.<br>
Why else would you repeat asking yourself a question, what exactly could the <br>
invisible painting look like.</p>
<p>Is Paul Jaisini a real person or invention of the writer who created him?</p>
<p>Yustas created a dialogue of many voices vital and engaging in opposition of opinions and search for something that explains mystery of Paul Jaisini’s invisible art.</p>
<p>There is a flurry of surprising interpretations, reactions, emotions and personal revelations all directed to solve the puzzles of Gleitzeit art, also known as Invisible, asking how much of this is fact and how much is fiction?</p>
<p>It’s challenging. What if invisible painting was real? <br>
Such a possibility yielding an extremely controversial discussion.<br>
Art finally enters a new unknown dimension and the book about <br>
it keeps someone in suspense, while someone is inspired to break through <br>
the barriers of unknown, and someone craving for more of <br>
the mysterious puzzles of Paul Jaisini.</p>
<p>62<br>
4/27/00<br>
Peter: didn’t feel like reading the critique of some art, especially <br>
when just looking at the text.</p>
<p>63<br>
June 11, 2003<br>
Josh: Am I to assume that the artwork is directed at the imagination rather <br>
than the Eye, forcing the viewer to create their own image around the <br>
suggested themes? Therefore creating a greater understanding between the <br>
recipient and the artist’s intentions.</p>
<p>64<br>
ART, CREATIVE. Congrads on your visual-symbol self-reflection analysis <br>
of the world mind! All new art looks crazy to the insane but to us normal <br>
people buried under heaps of irrecognition you’re just fine dust leading <br>
mini pion mites across the cosmos into greater summaries of the…</p>
<p>65<br>
I really enjoyed reading your Gleitzeit-text. There are only few people <br>
I can talk about art, it was a nice surprise to receive your description <br>
of Gleitzeit style. A lot of passages go together with my understanding of art.<br>
You managed to put thoughts in words I am not able to express in such a way. <br>
Please let me read the complete version of the Gleitzeit Manifesto.</p>
<p>66<br>
Last Flight By John Klawitter<br>
This industry sneek-peek of Last Flight is dedicated to the <br>
hard work and perseverance of Yustas Kotz-Gottlieb and the continuing <br>
effort to bring recognition to the theory of invisible art as evinced <br>
in the work of Paul Jaisini.</p>
<p>67<br>
Your essays have proved interesting. I am still studying them. </p>
<p>GYGNycgroup comPaul Jaisini is the beginning and the end of Invisible Movement. P J can show the way into the premise of the invisible art and out of invisible to visible. The metaphysics of the Invisible creativity of P J is the only mythology that is currently forming into a prevalent all-encompassing direction in every aspect of human condition. It is the formation of a new visual, new verbal and new sensory. </p>
<h1 id="outreach-that-the-email-comes-from-someone-wh_1">outreach that the email comes from someone who <a class="head_anchor" href="#outreach-that-the-email-comes-from-someone-wh_1">#</a>
</h1>
<p>doesn’t know much about art and is interested in this form of <br>
art to write similar stories. 2013</p>
<p>1999<br>
The first concerns the Paul Jaisini movement. Is it a movement <br>
as big as the Romantic or Victorian visions that produced <br>
those two ages, or is it smaller, more comparable to <br>
Impressionism; maybe not big enough to define an era, but enough <br>
to make a dent in the total conceptionalized aura of the art world?</p>
<p>Is the Paul Jaisini art movement big enough to define an era?</p>
<p>Is the term Flexi-new neo-anti-post modern terminology part of <br>
the Paul Jaisini movement or is the Paul Jaisini movement classified<br>
in this terminology?</p>
<p>The term anti-post modernism makes me think of some resurgence of <br>
romanticism? </p>
<p>How does the P.J movement differ other forms and hybrids <br>
of modern romanticism that have been created in the past thirty years?</p>
<p>Also, aspects of the P.J. movement make me think of many of the <br>
characteristics of modernism. One characteristic that comes to mind is <br>
the tendency of the modernists to redefine the ancient myths in newer <br>
terms for a modern generation.</p>
<p>How does the P J movement differ from modernism, and is it just another <br>
form of modernism attempting to be anti-post modern? </p>
<p>Or is it a romantic movement attempting to rebel against the constrictions<br>
of the post-modern age?<br>
As with movements, are writers of literature becoming involved in the Paul Jaisini?<br>
Is there such a movement in literature?<br>
As a poet and writer, I would be interested in writing some stories that abide with-in <br>
the realms of such a movement.<br>
Could you tell me more of Paul Jaisini? Is he from New York? I haven’t <br>
heard of all of the modern artists, and am interested in which he is.</p>
<p>68<br>
2013<br>
Generation Invisible:<br>
Paul Jaisini is the beginning and the end of Invisible Movement.<br>
The only one to show the way into the premise of the invisible art <br>
and out of invisible to visible. <br>
The metaphysics of the Invisible creativity of P J is the only<br>
mythology that is currently forming into a prevalent <br>
all-encompassing direction in every aspect of human condition. <br>
It is the formation of a new visual, new verbal and new sensory. </p>
<p>69<br>
4/27/00<br>
Riaz: he would like to receive more mail pertaining to the arts.</p>
<p>70<br>
2013<br>
Generation Invisible:<br>
Paul Jaisini negates to non-existence every art movement from the past.<br>
Paul Jaisini is empowered with such artistic style that has full authority<br>
over every visual image. What was art of the declining decadent <br>
time doesn’t present any valid option or power to be contradicted. <br>
Paul Jaisini would differ an art style that have any potency in the present time.</p>
<p>71<br>
August 07, 2003<br>
Ricardo: You have to ask the right question. And the question is not<br>
who is Paul Jaisini. It’s who is Yustas Kotz-Gottlieb. <br>
Look:</p>
<p>The American pop art was very influential on world fashion at large <br>
and whether you or I like it or not, it’s historical. <br>
I dislike pop art myself but as an educated person would not deny that influence is what makes art history and one thing develops from another. I even more dislike Brit Pop but what does it matter, when the Brit Pop fetches high prices at the auction. <br>
I am sure there would not be De Kooning if he hadn’t arrived to the US and contributed to history as first artist whose work was sold for $ 20 million while he was alive. <br>
The notion of suffering is very familiar to me as I have close friends who are true artists, such as Paul Jaisini. And that is exactly why I write about the artist. The opinions such as of the previous poster from Portugal about the US is more indicative about this person’s own problem than of those in the US. Where is the perfect society? If you show me the real paradise for people I might believe that the US is the worse cage for rats. There are places on earth that people consider the US a heaven on earth. Judging about people and even countries is provincial and has nothing to do with art and literature. Thank you for your interesting comment. Yustas Kotz-Gottleib</p>
<p>72<br>
4/29/00 <br>
Vinay: he cannot comment on paintings unless he sees them or that he could appreciate art… </p>
tag:pauljaisini.svbtle.com,2014:Post/gleitzeit-interactive-62014-07-31T09:39:19-07:002014-07-31T09:39:19-07:00Gleitzeit Interactive VI<p>53<br>
February 12, 2001<br>
Alejandra: I join the list of those who are intrigues by your message. <br>
I am a 21-year old woman and I find your description of desire turned into <br>
art very alluring. I have read about the ways human beings use to sublimate <br>
their deepest desires, and the sexual-romantic desire is the most powerful one; <br>
it plays with our ability to dream and it also asks the trick question: are we <br>
prepared to confront our desires when they become a reality? After all, like <br>
Oscar Wilde once said, one the tragedies in life is to get what you want.</p>
<p>54<br>
Re: Drunken Santa oil painting by Paul Jaisini. <br>
What this work adds is more properly eschatological in nature. <br>
The work contains veiled prophecies of a future champion who will <br>
rid the Church of its materialism and the political forces within <br>
society that disfigure and threaten to destroy it (etc)</p>
<p>55<br>
4/27/00 <br>
Kauffman in response to Blue Reincarnation (Narcissus): <br>
the essay sheds light on the most misunderstood myth of Narcissus.</p>
<p>56<br>
the overwhelming metaphor for the Human Condition in Drunken Santa<br>
I have not seen Drunken Santa but your wonderful criticism of it was <br>
almost as good as being there. I can well imagine the rich juxtaposition <br>
of compelling events in the picture plane. The deep ironies and, above all, <br>
the imbuement of rich mark making. P.S. I forgot to include the overwhelming <br>
metaphor for the Human Condition.</p>
<p>57<br>
YOU ARE BEING INVESTIGATED Your texts have been sent to my<br>
local police station and reported to FBI. Every email you have<br>
sent me has been reported and documented by the Police Department. <br>
You will be contacted soon to receive details on a pending <br>
lawsuit against your company. You have been notified.</p>
<p>58<br>
Nebojsa:<br>
Dear Mr. Kotz-Gottlieb,<br>
You see the artist who is suffering from depression is actually me. <br>
Thank you so much for your kind words related to my art.<br>
It is a great honor to hear such wonderful words from <br>
established and well-known art critic like you are. Your work about<br>
Paul Jaisini is simply a classic. I envision a plot for a novel. <br>
A woman-writer creates her new (male) identity of an artist. <br>
She writes about invisible paintings. The description are so good <br>
that every reader creates his/her own image of the invisible paintings.<br>
She organizes an show with the real paintings displayed. <br>
At the art show visitors reject the paintings and ask for her writings <br>
to be displayed instead.</p>
<p>59<br>
It was almost as good as being there</p>
tag:pauljaisini.svbtle.com,2014:Post/gleitzeit-interactive-v2014-07-31T09:38:02-07:002014-07-31T09:38:02-07:00Gleitzeit Interactive V<p>45<br>
Myrna writes that email with subject re: Blue Reincarnation Narcissus oil <br>
painting by Paul Jaisini is “unofficial” message.</p>
<p>46<br>
Congratulations on your success. You are holding the attention of your readers by referring skillfully to something they never see.<br>
The wonders of human curiosity. <br>
The mind is not a vessel to be filled, but a fire to be kindled. Plutarch<br>
I am afraid that our eyes are bigger than our stomachs, and that we have <br>
more curiosity than understanding. We grasp at everything, but catch nothing except wind.<br>
Michel de Montaigne<br>
Curiosity is only vanity. We usually only want to know something so that we <br>
can talk about it. Blaise Pascal</p>
<p>47<br>
5/19/00<br>
In reference to Jaisini Manifesto Gleitzeit Ken: Is there a purpose to this!</p>
<p>48<br>
GIGroup NYC 2013:<br>
Purpose of art Art has had a great number of different functions throughout its history, <br>
making its purpose difficult to abstract or quantify to any single concept. <br>
This does not imply that the purpose of Art is “vague”, but that it has had many unique, different reasons for being created. Some of these functions of Art are provided in the following outline. The different purposes of art may be grouped according to those that are non-motivated, and those that are motivated (Lévi-Strauss). </p>
<p>49<br>
I got your essay while sitting at work. I clicked at the link you included and <br>
looked at your essays (no time to read it all through while at work). <br>
It looks very interesting and unusual. I’ve never heard of an artist named Paul Jaisini, so I hit Search, but haven’t found any of his pictures or his… is this artist real or a creation of your imagination and an instrument for psychological experiments? And what is your profession? An essayist? An art critic? A psychologist?</p>
<p>50<br>
5/5/00<br>
Ben: An idea has intrigued me. The invisible paintings. <br>
Until I decide that I can’t execute it and that you (and other people with the knowledge) will not do it at an aesthetically pleasing level of quality, I will remain interested in the idea.</p>
<p>51<br>
May 22, 2003<br>
Michael: Yustas, I am trying to figure out the context of your post to which I am responding. Google search normally corrects my otherwise imperfect memory, but over 3000 hits on your name did not help this time.</p>
<p>52<br>
5/23/00<br>
Maitreyee: The character of Narcissus has always intrigued me. Maybe I can <br>
relate with the character!</p>
tag:pauljaisini.svbtle.com,2014:Post/gleitzeit-interactive-32014-07-31T09:31:31-07:002014-07-31T09:31:31-07:00GLEITZEIT INTERACTIVE III<p>20<br>
July 21, 2003<br>
Who the hell is Paul Jaisini, and where the hell is any of his art, <br>
and do you think we are all just stupid *f*c*ks? <br>
— jolly roger <br>
Answers Who the hell is Jolly Roger? </p>
<p>21<br>
July 22, 2003.<br>
I thought I would post this here in the debate forum because …. <br>
now why do you think I posted this here?<br>
I just received this in my mail box. I know how I reacted and <br>
will post my thoughts, (errrr, they say my thoughts are going <br>
to posted soon?) but I did not want to influence anyone with my <br>
paint prior to them choosing paint for themselves. <br>
This is the e-mail ————- You are contacted because your <br>
comments were published or are going to be published at <br>
<a href="http://members.aol.com/JaisiniArt/home.html">http://members.aol.com/JaisiniArt/home.html</a></p>
<p>22<br>
1/16/00 <br>
in regards to 911 (911 Oil painting by Paul Jaisini) <br>
Tikinose writes: <br>
Wonder if there is someone out there trying to paint your descriptions now… </p>
<p>23<br>
How big is the Jaisini movement in art? Is it a small current, or does <br>
it define the total aspects of an age? My question is how does the Jaisini <br>
movement differ from modernism or another form of modernism attempting to be anti-post modern?</p>
<p>24<br>
March 24, 2000<br>
I too have received this more than once— both times <br>
I think he got the address from the e-zine list.</p>
<p>25<br>
4/25/00 Erin writes in response to the “Blue Reincarnation” <br>
that she would be much better prepared to comment had she seen the painting. <br>
She lives in a small town and have limited access to the Arts and culture. <br>
She also have limited access to a computer. “Because I hadn’t seen the painting, <br>
I was puzzled as to how I would respond…”</p>
<p>26<br>
4/24/00 Jane writes that Yustas insites her desire to see these works and <br>
asks where she could see some online. </p>
<p>27<br>
February 01, 2001:<br>
I checked this out. Evidently this guy mails out this same message <br>
500 times a day, to promo this book he wrote. Also, I think there <br>
is no artist at all, you can’t find his paintings, you can only find his <br>
site, which has a header that reads something about “the painting of <br>
Paul Jaisini are said to be invisible”… Man, Yoko Ono’s exhibits are better. <br>
No Art at all, just a book. Rip off.</p>
<p>28<br>
February 01, 2001<br>
“Your explanation intrigues me. Please tell me more. <br>
If I understand your short description of this art-style, <br>
then the artist begins the line of expression and understanding <br>
of his or her work by the action of painting the work. <br>
Then each patron of art who views the completed work then adds <br>
to this suggestion of understanding so it sort of evolves and becomes, <br>
in effect, a work in itself? Or is this flowing expression about <br>
the work a continuation of that work itself? Where can I learn more <br>
and I would be interested in seeing some examples or where can I get your book?”</p>
<p>29<br>
“When people write on a personal level they try to seem interesting, <br>
try to impress. When I don’t respond personally but with auto responses <br>
they slowly start to realize that there is no ground for possible <br>
personal level of acquaintance. The conclusion is that to <br>
most people creativity has a lot to do with search for personal fulfillment. EYKG”</p>
tag:pauljaisini.svbtle.com,2014:Post/gleitzeit-interactive-22014-07-31T09:29:23-07:002014-07-31T09:29:23-07:00Gleitzeit Interactive II<p>10<br>
“i was just enjoying cyber space so i thought i would email you this.” <br>
Writes Bettie in response to Marble Lady essay.</p>
<p>11<br>
4/23/00.<br>
Katherine asked: “Is this painting for sale?”<br>
She wanted to see the painting and asked for a photograph to be emailed to her.<br>
In an email of the same date Dan also asked: “Where can I view something <br>
online that comes close to what you’ve described?”</p>
<p>12<br>
Paul Jaisini Invisible Painting: …essay “Marble Lady” on Paul Jaisini’s oil painting with the same title was distributed in frequency of 500-1000 a day<br>
I think that your reviews have an intrinsic artistic value. For this reason, <br>
I have sent you an invitation to join the abstract art collaborative - as an original artist (your artworks are the reviews of IMHO purely imaginary images). Yustas has distributed his review all over the place and since it seems to be of value, it has not been removed. google returns millions of hits as it seems. I will keep it here to entertain you.</p>
<p>YOU: I wonder if you realize that telling I write a description of non-existing paintings is a real compliment to me. </p>
<p>As my invitation to join the abstract art may prove to you: <br>
It is a compliment. YOU (I quote)— I would never possess such an imagination and if I would then I was a self-promoter for sure. Oh - but you <em>are</em> a self-promoter. I would call sending 500 or more essays a day promotion. And that promotion reflects <br>
to you as well as to Paul Jaisini. </p>
<p>YOU: Daniel, would the material evidence of those paintings existence convince you. <br>
Yes, it would. YOU: I just can’t believe you were serious of thinking I wrote about imaginary pictures. <br>
Mussorgsky wrote music about “pictures at an exhibition” which allows to get <br>
an idea of the images without actually viewing it. <br>
It is always interesting to see how imagination can be used to actually <em>see</em> <br>
a thing which is not subject to visual perception. <br>
Your reviews do the same - and there was no other information on Paul Jaisini </p>
<p>13<br>
“The pen names are another example of the universality of the theory of <br>
invisibility in artistic expression. After all, before they were created, <br>
they did not exist. And, even if your friend was to select one, <br>
the remainder will swiftly be lost from view and, hence, return to the limitless void.”</p>
<p>14<br>
1999 #interactive<br>
That’s mighty damned fascinating. Sounds like a truly interesting painting, <br>
but it’s kinda easy to sell something like that to someone, with no picture. <br>
Just a little hint there, give me an address if you really want me to see <br>
it that bad. If you send an attachment, I won’t even look at it as I don’t have <br>
half a clue as to who you are. Come to think of it, who the fuck are you? <br>
But, anyhow, you have a cool last name. Ta ta fer now.</p>
<p>15<br>
“Human condition could be defined by reaction to anything artistic. <br>
People never saw the paintings and took the controversy vigorously and readily. <br>
There are several types of responses while each response is unique showing <br>
endless reactions, personal characters of people in the way they respond. EYKG”</p>
<p>16<br>
Paul Jaisini is probably you, Yustas. Isn’t it? <br>
Brilliant work about Paul Jaisini, anyway, simply a classic. <br>
But, I would also very much like to read the book/novel you wrote. <br>
I would be deeply touched and honored if you could write <br>
a short comment about my artworks.</p>
<p>17<br>
an online communication dated 1999<br>
<a href="https://www.getty.edu/education/teacherartexchange/archive/Jun99/0203.html">https://www.getty.edu/education/teacherartexchange/archive/Jun99/0203.html</a><br>
I just got forwarded the following manifesto from a friend at Prague Post. <br>
Did you write it? If so do you have full version? I’m a painter; might <br>
be interested in using it, or quotes from it, for a catalogue I’m putting together. <br>
This is what I received: Paul Jaisini Gleitzeit Supermodernity…</p>
<p>Got 6 emails tonight from Yustas that are re: Jaisini Manifesto????????? <br>
Am afraid to open. Any advice? I know that I could just delete…but… curiosity <br>
has killed more than the cat, right? Like, hard drives, maybe????</p>
<p>They responded that they were spreading “art word” on the Internet, and that they’re in the midst of creating a web-site.<br>
Tracey writes: Yustas, you owe me a couple of bucks for sending six unsolicited pieces of junk mail…</p>
<p>18<br>
5/5/00 <br>
Where can I see Blue Reincarnation for myself?</p>
<p>19<br>
to P. Jaisini: I’ve run across people like you in my degrees taking days … <br>
you call yourselves conceptual artists. I’d call you another kind of artist <br>
especially when you disregard the form and expression of what has gone before in order to spotlight yourself. One of the whole points of the interactive is to work TOGETHER in a unified voice and form on the work. <br>
When you showboat you disrupt the form, and render the piece useless, to say nothing of arousing the ire and disgust of your fellow poets. -nijo </p>
tag:pauljaisini.svbtle.com,2014:Post/marble-ladyoil-painting-by-paul-jaisini2014-07-31T09:14:55-07:002014-07-31T09:14:55-07:00MARBLE LADY
OIL PAINTING BY PAUL JAISINI<p>MARBLE LADY<br>
OIL PAINTING BY PAUL JAISINI<br>
In his art, Jaisini insists on overcoming of the dehumanization and the suppression of sensuality.<br>
In every historical period there are ideas and problems that are expressed but will not come to pass. <br>
Paul Jaisini seeks to identify this idea in the present, excavate it from the past, and invent it in a new way for the future.<br>
In the murky, anxious world of ours, in the midst of the soul’s confusions and multiplying moral losses, the artist seeks and always finds some big and small islands of eternal truths, and asserts the indestructible age-long parables that reveal these truths in the new light, in his own system of sign- images.<br>
I realized that the more you look at “Gleitzeit” works and think, the more you see, feel, and understand—but never completely, as the works always have too many aspects for anyone to fully comprehend. There is always some kind of “space” in the painting, <br>
in which the observer feels free, without a persistent prompting of the artist, to use his own system of perception.<br>
To me, “Marble Lady” seems a late modern modification of the Greek myth of the sculptor Pygmalion, who used his illusionist skill to satisfy a private fantasy of the ideal woman.<br>
Disappointed by the imperfections of the opposite sex, he created Galatea out of marble.<br>
During a festival in honor of Venus, Pygmalion prayed for a woman as perfect as his statue.<br>
Venus answered his prayer by bringing his statue to life and eliminating the boundary between reality and illusion.<br>
In Jaisini’s “Marble Lady,” the object of the intense desire remains alluring, yet <br>
perpetually distant. <br>
Desire of the others is often imagined in terms of a fetish. So-called civilized man can be considered in light of his delight of the female form.<br>
In “Marble Lady,” we find the two types of spectatorship: the masculine and the non-masculine. <br>
Therefore, an image of the woman is defined through the desire of spectators, the unmanly poet and the savage who may well be a subscriber to “Penis Power Quarterly.”<br>
The statue of Galatea was, and still is, the symbol of fictional perfection, a result of the search for an ideal woman that parallels the artist’s own creative urge. <br>
A post-feminist culture has found a way to reinvent the woman as she once was: eager to appear attractive again.<br>
“Marble Lady” enables male domination by being unreachable and desirable.<br>
The construction of such a female identity fiction can inspire both high and low natures.<br>
In all of his works, P. Jaisini unites the high and low principles, integrating art into the material life, breaking out of art’s ivory tower.<br>
“Marble Lady” is a compact, pyramidal composition of the “trio.”<br>
As in all of his works, P. Jaisini subdues the figures to the articulation of line and its rhythmic connection between forms in space—a sort of analytical process based on the line swinging which inspires up ideas, shapes, and colors.<br>
These line arabesques are the highly individual textures of P. Jaisini’s art.<br>
A decorative role of the painting’s color is to illustrate the temperature <br>
contrast between the heated environment and the marble-cold statue.In modern and postmodern times, there are increasingly fewer outlets <br>
for the sensual urges and desires that lay at the origin of human society <br>
that imposes restrictions.<br>
Sexuality remained beyond the scope of most art history.<br>
Interaction between male and female is still responsible for the <br>
continued functioning of the universe. <br>
Text Copyright: Ellen Yustas Kotz-Gottlieb NYC 2014</p>