BLIND KINGDOM

THE GLEITZEIT ESSAY

Oil Painting by Paul Jaisini
PAUL JAISINI DESTROYED ALL OF HIS PAINTINGS IN 1994 to paint invisible paintings.

In Blind Kingdom line is jagged and light glows inside the line’s curves modeling images. The frontal relations here are more contrasted.
Moving up light gets hazy and dim. The line delineates concave and convex forms creating profiles just as drawing in process that seems unmediated.
The line maneuvers and changes, animating images one after another connected in sequence.
The first profile is in the upper left, the second is clothed in a cardinal red hat, the third is with a massive nose and is turned left, and the fifth is turned right giving out blessings.
In the left lower part another profile can be found with red, liquid hair.
The color of sacrificial arterial blued blood has often symbolized in the history of art a ritual of having the faithful to drink blood red wine.
The active red color of “Blind Kingdom” supports the overall movement of composition. The light balances environment and red areas seem cooler.
The cold areas in turn are offset by the orange and lighter red.
In Blind Kingdom the line is jagged with light glows inside the line’s curves that is modeling the images. The frontal relations here are more contrasted.
Moving up the light turns hazy and dim.
The line delineates concave and convex forms creating profiles just as drawing in process that seems unmediated.
The line maneuvers and changes, animating images one after another connected in sequence.
The first profile is in the upper left, the second is clothed in a cardinal red hat, the third is with a massive nose and is turned left, and the fifth is turned right giving out blessings.
In the left lower part another profile can be found with red, liquid hair.
From the title it is assumed that the work transmits a philosophical concern. However, from the style of execution of this small painting it is not easy to deconstruct what had led the artist for its creation, the idea or the improvisation of his line into the sequential images.
Usually Paul Jaisini is opposed to make any sketch or preparatory drawings for his works and most pictures are painted in one go.
In “Blind Kingdom” Jaisini unites a question of art with question of faith: “In the country of the blind, the one-eyed man is king.”
The formal beauty, spontaneity, and complexity of this work insure its great aesthetic sensibility and validity.

BY ELLEN YUSTAS K GOTTLIEB all rights reseved NYC