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to hell with you and your non existent paintings and flagrant self promotion I says it be four - I says it a gain - “I donut understud this arht stuff??? Whut means this Drunkin’ Justbisnis maybe it is drug indust, maybe ego indust? Maybe arht shroud see it too???” Maybe a the-me here &/or there? I donut hole??????????? Em eye ahrt thou????? Piece be upon thou……….. I lube you all!!! Drunkin Donut “would help if any of us knew who jaisini was” Actually, it would help if we cared who he/she/it is. Pseudo-intellectual self-promotion. That’s what I call it.

who is Paul Jaisini? Would really like to know? Do you really think that even today women writers and/or artists are not taken seriously as men? How did you manage to create such an attention to Invisible art? Very impressive! indeed.

I have no claim on revolutionary art. I have to admit that the theory of invisibility is a collaboration of opinions. If I could find a bridge between the theory and execution of this style then it would be revolutionary. At this moment invisible art is it’s early period. The publication of the book and continuous debate might bring a solution to the dilemma how to apply invisible art’s theory to literary art and music (possibly “inhearable”). Gleitzeit is a term that has nothing to do with art, it is used in German language to describe a certain working schedule, flexible hours. Someone applied avant-garde term to the most progressive art for it’s combative qualities in the beginning of 20th century. Gleitzeit is translated as flexi time. In the first volume of the book there is an attempt made to understand what gleitzeit art of Jaisini is. I appreciate your input and hope you could keep up your creative process. EYKG

"Anti-post-modern? Actually I see myself (if I may use the term ‘self’ in a discussion stemming from "Invisible Art" without drawing the ire (which in itself can be visible or invisible, depending on the civil constraints binding the one so provoked) of this esteemed (indeed, sometimes steamed) company (if indeed I may use the term ‘company’ without evoking the same expressions of disdain against the free-market mercantile mindset that triggered the reaction commonly known as ‘post-modernism) as rather ante-post-modernisitic in bent (ante being ‘before’), which, I imagine, (if indeed one can discern the imaginary from the reality) would tend towards cancelling out (or rendering invisible, if you prefer) any criticism leveled against whatever the hell we were talking about at the onset. )) (just in case I missed a ‘close parenthesis’ symbol) Which leads to a question — which is the actual parenthesis — the ( and ) or the expression contained betwixt the symbols? And it also brings to mind a line from one of my favorite songs — "Cowboy Buckaroo" by Mason Williams. To wit: "Should we be the way we are, or the way that we could be? Can illusion become reality?" Now I think (at least I think I think) I’ll pick up my flesh-colored Crayola and go back to my room. Randall

 I am infuriated at the vicious “critique” some of my fellow writers have offered on INVISIBLE ART… Beauty is in the eye of the beholder and I found your tale refreshing, yet tangy … but just a little tart. (For a man of your age.) Speaking of tarts… no, better not go there. This reminds me of the immortal words of Old Ernie Hemingway… “How the hell can I fish without my booze? Turn the boat around captain.” Anyway, write on my New York friend and don’t let small minds drag you down…. Incensed in a friendly way. I couldn’t just let that invisible art goby without my sincere crit on it’s validity in the mainstream art arena. I hope you take this crit in the spirit that it is written and bear no ill toward the ‘Critter’

Very interesting manifesto! Respect to the manifesto and to Y. Kotz-Gottlieb. I wish to join the movement. I often go through stages of self doubt (mainly due to the gimmicks of conceptual art and the nihilism of the avant-garde) but am unusually confident in my faith of painting. Your ideas do exist within a painting. I would like to see the long version of the manifesto.

Any interpretation is a product of circumstances and environment. Jaisini’s work can only be viewed in the light of our own strengths and failings. Said views are transitory as our frame of mind changes. Case in point, my own views of life and death have changed dramatically. These aspects have become more pronounced in my pictures. The finer points of Jaisini’s works become blurred and unimportant. This is not to say I can not appreciate those views but I must concentrate harded for them to have form. You have given me the gift of your insight. Few people realize how important the exchange is. Be forewarned that my part may be weak as best due to my failings. Jaisini’s concepts are interesting. I wonder where his visual perceptions manifest. If we speak from the media then the world will truly end.

Sinphony 1) transformation of the musician’s genders 2) The nude vulnerability of the musicians' bodies 3) The composition is ignited by the conductor’s spread hands. His right hand embraces a nude woman 4) a nude woman with black hair and red mouth. The conductor’s black figure seems to carry her nude torso. 5)  A central cello player is a naked blond with spread legs. Her right hand holds a bow that is pointed straight between her legs. And, her left hand holds the cello handle that reminds a long penis. 6)To the right from the central figure of cello player, there is a violinist in a black attire. Even though he is a man, his lower body is naked and has the female sexual features. 7) The absolute black color at the upper right corner counteracts with the flesh color of bodies. It creates a gap of macrocosm in the picture’s bursting color composition.  

wet dream 1) The work precedes the Reincarnation series. 2)The essential visual vehicle is in a line 3) The enclosure of the line is not only graphical, but also symbolic of the connection between the picture’s elements which await their disclosure. 4) The expressionistic line swirls flow in the open canvas ground and embrace the canvas in expansive loops. The work is airy. 5) transfers line into an image of a contraposto torso with a liplike part on the neck cut. 6) Another female images express their physical and emotional concerns. The bottom lean figure indicates the young age of this female. 7)  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 8) another female with a face that has only big red lips and flowing down hair lines. 9) a profile of a man who seems to sniff the aroma of the female bodies 10)  In the center, there is another gasping profile. 11) The curvilinear forms enhance the overall impression of a fluid movement 12) A phallic finger touches a soft pillow and charges erotic energy in all other phallic configurations in Wet Dream. 13) All images link in their conscious-unconscious, figurative-abstract condition.  

PINOCCHIO 1) Most elements are open to variety of interpretations, though a presence of devil in Pinocchio brings us closer to the original concern. 2)  a remarkably dramatic evocation of a turmoil at the party table. 3)  a birth of a black child with a knife. 4) His white mother is covered with table cum-stained cloth. 5) The orgy itself, the table and under the table seem like a replay of a crime scene. 6) The giving birth mother…it seems like some distant laughter echoed evilly in her attempt to give birth to that violent child with the knife that cannot yet kill but targets surrounding world with it’s pirate like curve.  7) TERM flexireality 8) the heroes are freed from the burden of the gendered flesh being puppets at the same table with people and creatures of superpower or animals. 9) The ruler is introduced by the liar Pinocchio. 10)The birds symbolize politicians  11) the partitions of the bodies by the table cloth, which covers and opens bodies portions 12)the somber, grisaille color of the painting. 13) It seems that the table cloth demarcates two realities 14) The ‘table’ composition in Pinocchio, Hot Dog Party, Barbie Q, 15) enclosed composition of a secluded line 

Blue Reincarnation Narcissus 1)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.  2)The ultrahot, hyperreal red color of the figure of Narcissus is not supposed to be balanced in the milieu of the radical blue. The flaming color of the picture’s Narcissus 3) 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.  4)In the picture’s background, we find the animals’ silhouettes which could be a memory reflection or dream fragments.  5)Narcissus and his reflection-of-the-opposite by giving him the signs of both sexes 6)"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. 

TALK SHOW 1)Talk Show has the analogous environment as in the work called Show Time; the crowd representatives and the image that centers the crowd’s attention.  2) the two dogs in an intercourse 3) different people of the crowd 4) In the painting we can clearly see the interlocked line of composition. 5) The reason why the artist prescribes the emerald color to his painting 6)  In the picture, we see the dogs’ intercourse