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See beyond rainbow

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Gleitzeit Aesthetics: The Philosophy of Invisible Painting …

Gleitzeit Aesthetics: The Philosophy of Invisible Painting
yustas-jaisini.blogspot.com
https://medium.com/gif-art-homage-to-paul-jaisini-invisible-paintings/see-beyond-rainbow-43c3dfc93295
“This Work Is Dedicated To The Extraordinary Enigmatic Man Mr. Paul Jaisini. Paul Jaisini‘s Vision Future Redirected Since He Started To Paint Invisible Paintings In 1994.”

“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”

“Don‘t Need Eyes — See The Invisible Paintings!”

“Portrait Of Paul Jaisini By Invisible Painter”

AND MUCH MUCH MORE STAY TUNED!
HOMAGE TO PAUL JAISINI INVISIBLE PAINTINGS FROM 1994” IS A NEW ART COLLECTION OF UNIQUE ARTWORKS FROM THE SUPREMELY GIFTED TOP YOUNG TALENTS IN THE CONTEMPORARY ART WORLD -- WIDE. 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”

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  • 1. See Beyond Rainbow
  • 2. Homage to Paul Jaisini By Stelly 2014 Gif Version GIGroup See Beyond Rainbow Random Notes On Paul Jaisini GIGroup New York Paul Jaisini is not Marcel Duchamp, Yves Klein and all others. There is a complex way to try to explain why, but there is also a less complex way. Not Duchamp, nor Yves Klein, etc came to the REDUCTION of visual means as early in Life as Paul Jaisini who started the GREAT REDUCTION as early in life as at the tender age of ten. Clearly at such age there could be no such thing as artificiality or true sensitivity to what is called “the environmental trauma” with such a consequence to cause a young child- artist to refuse the LANGUAGE – visual or spoken. At the age of ten a child doesn’t know the philosophical depths of why any language could be deceiving. And yet at the age of ten a child such as Paul Jaisini acts out straightforward without understanding or thinking about what he/she is doing. The age factor is what significantly or completely opposes the artists such as Duchamp, Yves Klein who had arrived to the art reduction or destruction ideas at their mature age with long art career behind it. Therefore to me any such attempt for reduction (on any scale from minor to major) of the visual means is nothing but a self-serving attempt to reinvent own art. The only “true” “reductionist” among the existing contemporary visual artists were and remains Paul Jaisini. He made his great breakthrough (the reduction of visual language as early as at the age of ten. /The detailed explaining in the upcoming publication of Gleitzeit Aesthetics: The Philosophy of Invisible Painting). This places him on the winning pedestal of the only known artist who from the very beginning of his artistic endeavors was already oriented not to accept what is known as visual language. If one wonders why wouldn’t Paul as a child artist just turn away from the arts if its known visual language had no appeal to him, just don’t get involved if you don’t believe in this visual or other languages (and since a child can’t really understand these sort of things written here still the child could find other interests in life…) Paul can’t turn away from his gift in arts I assume due to his genetic predisposition to it. He probably had little choice with his eidetic memory, the prodigious art talent manifested almost instantly after he was born. Herewith having “no choice” he also is not “sold” to the visual language
  • 3. and its limitations. By the age of 10 he arrives to his own Great Reduction knowing nothing about art history and having zero interest in art. His “new” art must had proven truer to him if he continues. As to what he creates on surface ( drawing on paper, photography,) he calls it “killing time” at school and were doing it without any pleasure. Any “normal” child gets huge pleasure from dealing with paints, drawings and crafts. Paul on the other hand has not experienced any such pleasure while drawing/painting on paper. He did it as I already mentioned to kill time and to give his artworks away to his peers who liked what he did. Being popular among the school kids and especially girls was his only motivation. I find it very unusual that Paul as a child felt burdened by creating an artwork, that he never liked his artworks that were and remain quite notorious for their aesthetic beauty and mature technique. At five years of age he shocked his father who is an accomplished sculptor when his son had made a three dimensional composition in a drawing for kindergarten, when what is commonly expected from a child would be a stick figure drawing. Paul created a detailed realistic drawing of a human figure, animals, landscape and so on with perspective of which he knew nothing… He was not trained in any art school growing up as a “normal” kid. I want to point to what I find to be some striking things about Paul Jaisini. 1) When he is asked about his childhood or past times he describes things in such detail that to someone like me would be inconceivable. In short he remembers absolutely everything to a minute what was happening to him ages ago and can give the exact photo-like description. If he perhaps (I don’t know anything about his present life what he once told me I do know for a fact) doesn’t have the same eidetic memory in present times, nevertheless what was once processed by his eidetic memory in the past remains memor ized (stored) in such particular to eidetic memory quality. It seems to me that Paul Jaisini sincerely doesn’t like most visual arts.This must be due to the way how he sees things differently from howmajority of us could see, the visual artists including.
  • 4. He never really cared about his artworks he produced for whatever reason ever since he started producing from early childhood. Same as child-artist same the adult visual artist might not be well-organized to collect own work but at least they love to see what they’ve made. Paul took no interest in his artworks he would typically give away. From what I gathered is that Paul Jaisini’s understanding of why he never cared about his art activities is quite simple. He wasn’t a nerd to concern himself with good grades or arts.) Paul Jaisini doesn’t know much of his “being a child prodigy” and any such distinction as being especially gifted, rather a genius with his eidetic memory. His own explanation of such things is simple, he just doesn’t have much time for all things he does and this pushes him to do what he does much faster or with higher skills to just have enough time for everything. So the life time habit of pushing the barriers worked same way even when he was a child. He didn’t like to read with only exception of science and few adventure books. He never read novels as his friends or other kids. He didn’t really LIKE making artworks. As his interests were in things opposite of what I would constitute here as“artificial language” (art, made-up stories in books) the only interest for Paul was experiencing real life and have real knowledge of things from“truth” – real experience of these things. Therefore things like art, books, schools were lacking the thing he was after, the true life experience with itse xcitements and dangers in his extremely high octane action-fueled life ofdaily adventures. documenting gleitzeit 2 I have no interest in your arrogant view of art. I highly doubt anyone else does either. To expect everyone to adapt to your self-absorbe... on gleitzeitartdocumented.blogspot.com Internet Never Forgets hem as visual as possible to minimize the verbal nonsense. it is what it is, water, female figures, floating elegance, this isn't rocket ... internetneverforget.blogspot.com · Eidetic memory
  • 5. HTML narratives In contemporary society webpages or to be more correct, hypertexts, have become affluent forms of narratives. Hypertexts ... pauljaisinieideticmemory.blogspot.com gleitzeiti nternationa lgroup new york city gleitzeit art, documented gleitzeit art, gleitzeit art period, paul jaisini gleitzeitinternationalgroupnewyorkcity.wordpress.com · Re Modernist P U B L I S H E D I N · Gif Art Homage To Paul Jaisini Invisible Paintings GIF Paul Jaisini Invisible Paintings 1994 — 2014 NYC
  • 6. HTML narratives In contemporary society webpages or to be more correct, hypertexts, have become affluent forms of narratives. Hypertexts ... pauljaisinieideticmemory.blogspot.com gleitzeiti nternationa lgroup new york city gleitzeit art, documented gleitzeit art, gleitzeit art period, paul jaisini gleitzeitinternationalgroupnewyorkcity.wordpress.com · Re Modernist P U B L I S H E D I N · Gif Art Homage To Paul Jaisini Invisible Paintings GIF Paul Jaisini Invisible Paintings 1994 — 2014 NYC