Das Ich und das Es
Oil on Linen
Plywood support
W x H (“) 36 x 36
Das Ich und das Es series
This work is painted in expressionistic gestural
technique. Brush strokes interweave colors with lines creating many obscure
figures. Gradually images appear to surprise with discoveries. The flowing
contours foster fantasy, in which the content of the work melts away, seems to
be modulated to subtle stirrings of the artist’s vision. Among seven images
there is a man brandishing a knife. This image might signify a subconscious
liberation that is found at the origins of art where a violent struggle asserts
an idea of ideally free self once it has to engage with the world around it
(Laocoon), and a conflict becomes condition of existence.
The life on an artist is much like a moment of fact and
fiction.
Das Ich und das Es (The Id and the Ego) might be inspired
by the artist’s interest in a condition between reality and fantasy, a result
of creative process that is much like a lucid controlled daydreaming.
The painting traps an eye by entangled lines; speedy
brushwork, overlapping silhouettes, and brisk exhilarating color developments.
Knowing that the picture is a flat surface, somewhat
abstract, the viewer could feel a powerful effect in “Das Ich und das Es” of
breaking away from two-dimensional surface and almost a hallucinatory after
effect. It happens because our sight through rapid observation discovers and
takes not one thing at a time but infinity of forms, colors, and movements. It
happens of course because the artist at a starting point of his work could
foresee all-at-once and was able to bring the vision to existence on a canvas.
You will not contemplate this painting on same level in
time.
It is more like listening to music through a pair of
stereo headphones. Everyone knows and heard sound as if it emanated from a
point directly above the head.
This occurs even though the listener knows that sound from
each speaker is entering ear on the head’s opposite side.
Contemplating this painting is like a hearing process when
each of our ears listens to the same sounds; however each takes in auditory
information from a different point in space. Again this distance between our
ears, though small, is enough to create a third dimension of sound that we
perceive as depth.
Same way a new dimension could appear in the work called
Das Ich und das Es when the eyes are trapped by entangled lines, speedy
brushwork and mysteriously developing silhouettes of picture’s not yet analyzed
intrigue.
Apart from Reincarnation series Jaisini painted other
works that are inspired by his interest in Eastern philosophy.
Das Ich und das Es painting had alternative title while in
a process of creation that was “Dream or Real”.
Perhaps the original inspiration derived from a
philosophical proverb Jaisini applied to his artistic vision, “I do not know
whether I was then a man dreaming I was a butterfly, or whether I am now a
butterfly dreaming I am a man” of Chuang Tse 369-286 BC.
The condition between reality and dream of someone who
strongly holds on to reality who cannot relax even while sleeping is reflected
by personal creativity. For Jaisini reality is mixed with fantasy, as a result
of being creative artist whose work is much like a daydreaming.
Das Ich und das Es painting slides between phenomenology
of line fluidity with a level of Pirandellian deconstruction-reconstruction
concept.
The moment of fact and fiction, dream and undream.
DIundE
One would wonder what would the new level of “realism” add to the process of “seeing”
An entirely different matter would be how the exact copy of reality could benefit a human image and what sort of image would be fit to be “worthy” of such exact real copy on paper or video. (obviously even 3-d copy which is not very essential to the question) In such copy with most advanced process who would look good. For instance over decoration… for such occasion one would think that since the “copy of reality” shows every microscopic detail, than the more decorative details there would be to record the better… So if the reality record
Internet is now called WORK. People “working” and believe in it very strongly. since their work involves RESEARCH and digging in deep waters of “knowledge” wanting to acquire full and complete information on their research topic. The need for full and complete information is really overpowering that is why doing it feels like WORK. Those who had been there understand how bad it is. The Style researchers want to find the precious INTERNET worthy “art”.
People get trapped on the internet without “a warning” that internet would serve you right if you use it for REAL WORK - it is priceless for the amount of info one gets for instance I found all matches on the current topic of INVISIBLE and invisibility. If it wasn’t for the internet I wouldn’t be writing this now as I wouldn’t know about the wide spread phenomena and popularity, but the “discovery” made me realize the connection of social phenomena to visual art that is important when nothing in visual art really connect to the vast unknown dimension of “real people” Again if it wasn’t for the sources available on the www where people supply and share info I wouldn’t be able to put together Invisible art of Paul Jaisini that arrived on the www in 1998 and the current state of human condition.
Once something suits your taste you don’t feel any reservation about sharing it or just using as your “own” photo or idea. But the idea spreads and if you find ton of matches with variations of how your subject for instance Invisibility is in active use you can deliver really well-grounded analysis and know more than anyone on the topic.
