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Drunken Santa
Oil painting by Jaisini
http://jaisini.artbabyart.net/
Drunken Santa is a work that creates a miracle of equilibrium. What seemed like a clash of an opposite spectrum's colors became the unlikely harmony in this painting. Jaisini's artistic vision here is formed from two components of physical and emotional states of being.
Freezing and heating serve as a symbol to a human need for warming up from the chill of solitude by means known to people at all times. The artist pursues his art philosophical quest for worldly knowledge that had left its traces in many of his works. A line of composition literally ignites the painting's surface with the movement. The color of this work is "phosphorescent," and it create the different planes if the subtle color nature. The warm color of purple supports the hot color of Santa's figure and an exotic fish above Santa. This hot color may represent the so-called material universe, the world of the gross senses that can be observed in a sober state. The cold, arctic blue color represents the unknown, the world of a deep state of drunkenness where real is unreal and otherwise. The only hard reality is the self, which never changes in any state. And maybe that is why Jaisini favors the painting's main hero, Santa, to possess the vivacious color of fire. Jaisini chooses this color of fire to manifest the self and the cold cerulean, cobalt and ultramarine to renounce self as a mortal entity surrounded by the eternal unknown.
While Santa drinks his feelings of frigid loneliness vanish. And so, he gets a company of some almost hallucinatory nature. A shark, a ghostly image, a profile of another prototypical drunk who is not accidentally situated in a horizontal position. An amalgam of the several female figures that consists of a woman in stockings, a nun, a big-breasted silhouette that create a shadow between.
A heat can be sensed around the hot colored Santa who has lost his beard and is holding a glass of red wine. He shows his thumb that may be just a polite substitution for the middle finger sign.
The colors of the work are balanced by a virtuoso composition of a cubist character. The picture's space is divided endlessly. More images start to appear. The world of "Drunken Santa" vitalizes to almost chaotic state. The work is a treasure. It depicts and witnesses the intangible mechanism of reality transformation. In the state of intoxication, what happens to the solid world of sober state? Everything disappears. It is just like the dream-world, that we call unreal, because when we are awaken it is not there. Just so the solid world must be unreal because it also vanishes in the drunk or deep-sleep states. Then what is reality? In "Drunken Santa," this problem is elaborated to the triumphant conclusion. The simplicity of symbolism of the warm and cold colors. The dazzling composition of figuration superimposed to abstraction. And besides the beauty of artistic logic, Jaisini's works are marked with the rich, magnetic colors, as in "Drunken Santa" and others, strikingly attractive pictures in their intricate game of light and shadow, in their absolute congruence of visual and conceptual.
Review of oil painting "Drunken Santa" by Paul Jaisini
Text copyrights by Yustas Kotz-Gottlieb
All rights reserved
New York, 2003
send private comments to author Gttlieb@aol.com
y k-g
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Here we go again.
And mav's back.
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And mav's back.*hehheh* 
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Did y'all know that Wolfie Mozart's middle name, that given by his ma and pa, was Gottlieb? When he got old enough to know better, he decided Gottlieb was too, well, pedestrian so he toyed around with other languages. He used Theophilis ( -us? Greek scholars help me out here)for a while, but then settled on Amadeus (I am *not making this up -- YCLIU).
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And mav's back.
*hehheh*
oh, sure, blame the fall guy why doncha! :)
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Thank you all for you interest in Gleitzeit art of Paul Jaisini. You are invited to visit the site and post your comments on photos of New York City in Code orange.
Cheers from Big Apple,
Yustas Kotz-Gottlieb
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I wanna see the pitchers!
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Dear Faldage:
Sorry I forgot to include the web address of the site that is courtesy of artbabyart zine. The official Paul Jaisini site is under construction and on http://jaisini.artbabyart.net/ you would see the pictures and soon the announcement of the major site's opening with entire collection of art works by Jaisini.
Thank you kindly for your interest!
Enjoy your visit,
Yustas
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Onliest pitcher I seen is that dude doing his Nan Bullen impression.
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pictures:
http://jaisini.artbabyart.net/
http://jaisini.artbabyart.net/about.html
http://jaisini.artbabyart.net/yustas.html
http://jaisini.artbabyart.net/photos.html
http://jaisini.artbabyart.net/photos2.html
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http://ww3.jusumo.spambabyspam.art
sorry it too me so long...
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Pooh-Bah
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Now, I read the addie as saying it was "Art Bab yart " 
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Pooh-Bah
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Not that I'm complaining, but, ¿Am I missing something here?
I have tried to take this post seriously, and gone to the site. At first, I got a photo of someone who obviously doesn't understand that fork-lift trucks are designed to take the manual effort out of lifting.
However, I finally located the link to "Drunken Santa", but all I get is a reprise of the post made by gleitzeit. (Acherlally, gleitzeit's post is the reprise, what I got was the original, I s'pose, - but I'm telling it in the order it happened to ME!)
How can I comment, as requested, if I don't get to see the picture? (This, I think, may be the point being made by my old friend Faldo - if I've minced your kidneys, pal, my apols!)
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minced kidneys
No worries, mate. Sometimes I need someone to explain me to myself.
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Pooh-Bah
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... or even just to provide rhythm accompaniment.
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rhythm accompaniment
Ah, those were the days, I on cane, Rhuby on walking stick. We had 'em dancing in the aisles.
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this last little duet was much more interesting than the original post. I like the way you guys trade fours...
formerly known as etaoin...
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>this last... was much more interesting than the original post.
isn't this somewhere in the AWADtalk bylaws?!
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trade fours
You shoulda heard us IRL.
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I did hear you IRL and it was great! Now, all youse guys that have been trying to view the painting, listen up. You weren't paying attention. In the post gleitzeit made in Looking for (speakers, writers, etc.) inviting us (or anyone) to participate in his art fantasy is the explanation: In reply to:
CALL FOR SUBMISSIONS for Publication of "Jaisini Gleitzeit Supermodernity"
WRITER'S GUIDELINES
L.C.McCreshly Publications is seeking submissions for their upcoming book entitled: Jaisini Gleitzeit Supermodernity: New age American art.
What is accepted for submission to be included in the book:
Literary essays (1,000-3,000 words) for associative writing on invisible paintings.
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Invisibility is no excuse.
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Pooh-Bah
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... and drunken-ness the least successful route to invisibility.
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the least successful route to invisibility
I dunno; worked for me. Well, with something else to accompany it.
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Pooh-Bah
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Wish I knew the trick - drunkeness inevitably makes me horribly conspicuous. :-((
(... and occasionally, conspicuously horrible!)
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Wet Dream (oil painting by Jaisini)
by Yustas Kotz-Gottlieb ©
Wet Dream, an oil painting by Jaisini, in terms of exploration of own sexuality, dreams, or nightmares, belongs to a human traditional need for personal revelations. The imagery of the work is of a usually Jaisinesque theme that is not to be a statement or an illusion, but which summons the emotions. In Wet Dream, the feelings of morning euphoria and desire create a new formula f early life's passion.
Jaisini delivers a high sensory level through the graduate, almost hypnotic step by step desire awakening.
The work precedes the Reincarnation series. As in all of his paintings, Jaisini pursues a metamorphosis of the physical and mental states. In his works, the concept and the material are enclosed and inserted within each other. The essential visual vehicle is in a line, that emphatically as a life of its own and could be perceived as an automatic release. The enclosure of the line is not only graphical, but also symbolic of the connection between the picture's elements which await their disclosure.
In the years of cubism, Andre Masson created his series of erotic drawings. In his works, Masson portrayed pure erotica with total absorption in the act, orgiastic, uncomplicated, and a little banal. the lack of diversity in such a subject matter as eroticism resulted in the Masson's scenes of pairs, trios, or even dozens of naked women interacting in a sexual way with one another. Masson filled this scenes with a Rubensian appreciation of the flesh and its pleasures, the very quality which impoverishes the otherwise fruitful area of human psyche.
Jaisini, on the contrary, uses the sensual overtones to enrich and explore the mysterious realm of mind potential. So, instead of creating automatically, similarly, and limited, Jaisini employs his mind to complicate and develop the subject of desire.
In Masson's erotic series, the only sentiment is the libidinous desire. Jaisini reflects a different time and epoch that is not satisfied with the simple approach. Jaisini combines together the physical with psychological, which becomes nearly a game.
The expressionistic line swirls flow in the open canvas ground and embrace the canvas in expansive loops. The work is airy.
The artist's thought transfers line into an image of a contraposto torso with a liplike part on the neck cut. Another female images express their physical and emotional concerns. The bottom lean figure indicates the young age of this female. In turn, that may explain the desperate pose for the erotic fulfillment. 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 with a face that has only big red lips and flowing down hair lines. here, we find a profile of a man who seems to sniff the aroma of the female bodies not without pleasure. In the center, there is another gasping profile. The curvilinear forms enhance the overall impression of a fluid movement, which so well corresponds to the erotic sensation. a phallic finger touches a soft pillow and charges erotic energy in all other phallic configurations in Wet Dream.
All images link in their conscious-unconscious, figurative-abstract condition.
The cycle of desire goes on endlessly and is at the core of human existence. In Wet Dream, Jaisini liberates the desire from the self.
In this well born work of art the desire is taken for a model.
The work demonstrates what we know of creation to be a combination of already existing things into newer forms. That being so, the desire of man must have been in an endless existence and will continue to dwell in bodies and in works of art to which Wet Dream is an example.
Copyright (c)2003 Yustas Kotz-Gottlieb. All rights reserved. New York
contact gttlieb@aol.com
http://jaisini.artbabyart.net/
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the only sentiment is the libidinous desire
¡Seufz!
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Wet Dream (oil painting by Jaisini)
yo, gleit! where's the painting? how do I know if your words are worth the electrons if i don't see it for myself?
formerly known as etaoin...
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Pssssst! eta, I'm saying it very slowly for you "writing... on... invisible... paintings"... use...your...imagination...  
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Pooh-Bah
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One could wish that gleit consolidated the effect he creates, by using invisible ink.
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Hey! He's just seeing how far he can get with the engines turned off.
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Pooh-Bah
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Faldage, you try Googling <gleitzeit> and then tell me if his engines are turned off! 
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engines turned off
Just going by his handle, Rhuby.
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Pooh-Bah
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Hmmmm. I remember when one had to use a handle to start the engine.
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use...your...imagination...I give up.
formerly known as etaoin...
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I especially liked this response on another board to the Drunken Santa http://www.asianart.com/cgi-bin/asianart/letterboard.pl?read=9006See, mav, this is something on the order of what I had in mind that you might possibly write, unless this type of art tickles your fancy 
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ok, I didn't give up.(why am I spending time on this...?)
anyway, this is what has me confused:
Drunken Santa
Oil painting by Jaisini
Wet Dream (oil painting by Jaisini)
these are invisible? then who the hell is Jaisini? and why does the gleitmeister need an invisible painting to write about?
formerly known as etaoin...
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My interpretation is that he is exploring a different form of art by not buying brushes, paints, canvases, paté, cheap wine, etc. and cyberpainting inside our brains with words. 
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It was *impossible to take any more of gleitzeit's posting seriously after swallowing this...
...that creates a miracle of equilibrium.
Although I did particularily enjoy reading this in the second *thesis...
As in all of his paintings, Jaisini pursues a metamorphosis of the physical and mental states.
At least the attempts at being a revolutionary aren't going unnoticed.
Where is that sarcasm emoticon...???
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Thank you all for your discussion and interest in art of Paul Jaisini. You could review the book currently offered at
http://www.lulu.com/Paul-Jaisini and let me know if you would want to have your discussion considered for the publication of one of the series installment dedicated to art people called invisible and artist Paul Jaisini.
Warm regards from NYC.
Yustas
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from teachers.net chatroom:
>>Re: Paul Jaisini
Posted by Arthur on 7/14/03
On 7/12/03, Maggie Rick wrote:
> I do not think poetry has lost its value. I think that Sydney has.
> Poetry is used today to different things than it was used for at
> the time Sydney was writing. I know that it holds great importance
> for many people, but the American Heritage text book is not written
> in verse, as it very well may have been written then.
I have read this before. Who are you and why have you posted about
Jaisini all over the Internet? <<
---------------------
from me:
H.G. Wells wrote a novel with an invisible character as the protagonist once...does that count?
Does Casper the Friendly Ghost count as invisible cartoon art?
If a painting is hung in the land of the blind, is that invisible art?
If music is played in the land of the deaf, is that invisible art?
If somewone writes a word, a poem, a play, or a book that no one ever reads, is that invisible art?
If Ralph Kramden suddenly can't see his buddy, Norton, is that invisible Art?
If you create invisibility is your creativity a vaccum like a Black Hole?
And if somebody *claims* to see your invisible art...who's the liar?
And is art of the invisible kind more or less transparent in say, New Zealand, than it is in, oh, Canada?
I really want to know the answers to these questions. My earnestness is indivisible....I hope.
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Please review the new book at
http://www.lulu.com/Paul-Jaisini
that would answer your questions.
Thank you for your interest in art of Paul Jaisini,
Warm regards from New York City,
Yustas
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have your discussion considered for the publication
We'll bring it up for consideration by the AWAD Society Internecine Forum
As if!
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Internecine*Usually* invisible.
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I love your questions, WO'N, and esp. If you create invisibility is your creativity a vaccum like a Black Hole?
And if somebody *claims* to see your invisible art...who's the liar?
In the latter question, neither person necessarily has to be a liar. I had an internet friend who "created" his house for me in words so well that I could "see" it in my mind.
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I'll take it up with my agent. Meanwhile, don't publish any of my thoughts, gliding time, unless you want a big-ass lawsuit.
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http://www.lulu.com/Paul-Jaisinik.
There will be a series of books than include comments and discussions. You can see it for yourself by previewing the book at the above link. If you want your discussion to be a part of the upcoming book just let me know.
Yustas
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I've finally figured this out: y k-g is shorthand for "yust kidding".
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I am not kidding:
Just review the current book installment and you will see that comments from Internet are included. There will be a series of books with comments related to the subject, such as this particular discussion included. I would need to know if the participants of discussion want to be included.
Yustas Kotz-Gottlieb
Warm regards from New York
http://www.lulu.com/Paul-Jaisini
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I would need to know if the participants of discussion want to be included.
NO aka NEIN
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>clicked the link<
and received this:
>The page you have requested cannot be found.
The page you are looking for might have been removed, had its name changed, or is temporarily unavailable.
Please try the following:
If you typed the page address in the Address/Location bar, make sure that it is spelled correctly.
Open the www.lulu.com home page, and then look for links to the information you want.
Click the Back button to try another link. <
Hmmm...the plot thickens...or shall we say, invisibilizes more...
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http://www.lulu.com/Paul-Jaisini
works fine
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Worked OK for me, Juan. Maybe you copied a bit too much when you pasted? You don't have any trailing spaces or CR-LFs, do you?
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Aw, I bet anybody could see a Drunken Santa in an invisible painting.
I, for one, saw the emperor's new clothes, you know.
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I would need to know if the participants of discussion want to be included.
Absolutely not, never, under any circumstances.
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Worked OK for me, Juan.Oooo...you traitor, you! [with my best Michaeline O'Flynn accent-e]
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Put me down as a very visible NO
Bingley
Bingley
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very visible ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ You know, Mr. Yustas, you may be the nicest person in the world and you may have written the best book in the world, but I still have to say that I resent your popping up here and making posts about things that make no sense, with no explanation whatsoever. It is only with great (and resented) effort that my feeble mind has finally been able to put together some sort of reason behind this, and it goes: "Hello, my name is yustas kotz-gottlieb, and I have a web site about a supposed artist that includes an "interview" with this "artist" who "says" things like "-When a man is awake, a man is asleep; everything encloses. And when you enclose your line you create the reality in which the man truly exists not knowing that he is entrapped in a secluded world of his own doing which he cannot escape." Which I know makes no sense, because I have written a book about all of his paintings that don't exist, hoping that people will realize it's all in fun and buy my book." Had your initial post said something along the lines of 'hey, if any of you would like to have a little fun, try reading my site', I would have been a lot happier.
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stranger
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OP
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Dear Bingley:
If you don't want to have your comments included please feel free to leave a note and your comment will be removed.
Thank you for the prompt attention to this matter.
http://www.lulu.com/Paul-Jaisini.
There will be a series of books than include comments and discussions. You can see it for yourself by previewing the book at the above link. If you want your discussion to be a part of the upcoming book just let me know.
Yustas
y k-g
y k-g
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If you don't want to have your comments included please feel free to leave a note and your comment will be removed.
The default answer is NO. If you do not receive explicit permission you cannot print. We are not required to tell you it's not OK.
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stranger
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Faldage, are you a webmaster? I am trying to figure out if you give response for the rest of the members who gave replies on art of Jaisini?
Thank you for clearing that out.
y k-g
y k-g
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I'm just saying that using another person's writings without explicit permission is not acceptable publishing procedure.
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gleitzeit, many of us have replied NO. Please take NO as the answer unless someone explicitly tells you YES. Which I sincerely doubt. Please read Jackie's post above.
... this is a board for people to post comments abut words and language, make jokes, make friends. The idea of someone coming here for particular yet poorly-stated interests, gathering comments and then "publishing" them, goes against my idea of ethics.
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Dear Gleitzeit
I have already told you publicly that I DO NOT WISH TO BE INCLUDED IN YOUR BOOKS. REMOVING ME IS YOUR RESPONSIBILITY, NOT MINE.
Quite apart from anything else, the number of hits a site gets can be a valuable commodity. Why should I boost the value of something I have no conceivable interest in?
Bingley
Bingley
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stranger
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This is non-for-profit mission to bring high art Gleitzeit of Paul Jaisini closer to people.
Thank you for your input.
Warm regards from New York City!
y k-g
y k-g
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I still haven't seen any art.
or read any.
or felt any.
I sang some this week, but it had nothing to do with Santa.
formerly known as etaoin...
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Dear gleitzeit,
The price of my questionaire post is $2,500 per question blurb. And I need that in a written contract since that's my work and I hold the copyright, and you don't have my permission to print it without stated compensation (a portion of which I would donate to Anu since wordsmith is *his* site). Those are the terms, non-negotiable. That's a total of $25,000 by my calculation.
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Mr. Yustas, I owe you an apology. I see that you did post an explanation: L.C.McCreshly Publications is seeking submissions for their upcoming book entitled: Jaisini Gleitzeit Supermodernity: New age American art.
What is accepted for submission to be included in the book:
Literary essays (1,000-3,000 words) for associative writing on invisible paintings.
The best art is art of fantasy; literary exploration of visual dimension is a new a vehicle but expresses so much more, contemporary directions of aesthetic development in art and art receptors, viewers who belong to the art tradition and never before had a chance to express their opinion on art. This is your opportunity to be a part of a new art and express your understanding of future of fine art. You can also submit controversial views and any argument to the leading idea of non-visibility of new art.
HOW to submit:
In the body of an e-mail. No attachments. http://wordsmith.org/board/showflat.pl?Cat=&Board=lookingfor&Number=110805 In my defense, I will say that I did not make the connection between the post I just quoted from and the one that appeared here; and frankly, the thread title still makes no sense to me whatsoever (yes, I did read a couple of sentences under the "painting" title on your site). Nevertheless, I am sorry that I accused you of not offering an explanation when you had. But -- do NOT use my comments in your book! Our comments were to each other, here on this site. They were not intended to be submissions to you, and in fact they do not meet the criteria you outlined above.
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Do not print any comments I have made at wordsmith.org. Have I made myself clear?
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I haven't *given you any input, gleitzeit. (yet)
**********
You may not reproduce in print or any other manner any of the comments I have made here at wordsmith.org.
("non-for-profit mission" and "high art" my ass...)
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