Electronics Paintings

if i could bloom like a marigold on a madman’s windowsill in the early autumn

and know that it was for you

that would be enough. 




chatting with fruit flies in the early morning

what are they really up to

so silently floating about. 




the painting fail


amongst the 


the pagans

the city falls 

the traders 

find the 

silk pearl 

roads and ropes

beyond some science fiction dream

the sad 


movie reels and digital props

the flesh 

borgish mania 

manic depressive 


pure and clean

the air 

the water

the earth 

the fire

the space. 


feeling both found and lost 

open and closed

decisive indecisive

this place that’s like a series of waves 


there its not the same face twice

no honor amongst the thieves 

the quiet humping of porn online

disrupts the evening light 


are you there in there really

some foreign star some other 

another other 


its not what you think

its not play 

keep going. 

How to look "and think" about art. no excuses. or deconstructions.

Hudson was, to some an austere figure, with his buzzed head and dancer's body, Hudson was, at the same time, eminently approachable. In each of Feature's iterations, his desk was out in the open, and he politely greeted all comers. Once, when asked how he looked at art, he replied: "The first thing is to be quiet. I drop my agenda or expectations, and listen. Then, I soften my gaze. The eyes are agressive, and once you realize they are out there hunting, you can learn to tune them down, and let what is out there come to you. The body knows things way before the brain does... Art is primarily about the development of consciousness, not the development of an object. The object is just a catalyst."

Bhrahma Kamala  watercolor on Arches  11.5" x 7.5"  © sp2016

Bhrahma Kamala
watercolor on Arches
11.5" x 7.5" 
© sp2016

What is it dear?

Just reading in Kashmiri Shivaism and Western Art Critique Theory and finding certain interesting facts and conjectures. 
so verily, having a : 

whatever life in the midst of a multiplicity of lives:

In this way he lived on.

What became of him, what may have happened to him later is outside the scope of our knowledge. For the time being, we have not been able to discover any further traces. Perhaps we may be able to some other time. We will see what endeavors might yet be undertaken. We will wait and see, and as soon as something new might have come to light, assuming that sufficient new interest will have kindly been made known, we will be happy to convey it. (Walser, 1986: 130) 

but visually and mentally i was thinking of this below. 

a great app by the way ..... thanks 

a great app by the way ..... thanks 


then painting in my studio some new things. lol. good luck with that, surya. 

so this other thing in epilog to the readings in saivism also seemed to me relevant to something i was thinking once: 

"It seemed necessary to me to strive for the sensation of effort, and I did not appreciate the happy results that are merely the natural fruits of our innate abilities. In other words, the results in general – and consequently the works – were far less important to me than the energy of the creator – the essential core of the things to which he aspires. This proves that a little theology is to be found everywhere." (Valéry, 1978: 8, trans. Derieg)

so over there

Steven Plount Studio View 2016 

Steven Plount Studio View 2016 

I can't just put that whole business of the theologic aside when concerned with "art" therefore I am out of the times, the social construct times. but not wholly out of time at all. infinite. Well, actually, i have taken up the theologic in art since I picked up a pencil. 

but Its impossible being......  only a part of god moving towards final freedom and completion in the ultimate form. a form very close and similar to god. in that case many theologic arguments are scientifically proven. LOL. 


Due to lots of sorrow,

During early childhood, I rolled in dirt,

And with a dirty body,

I was interested only in drinking milk from breasts.

Insects like fly also bit me often.

Which I was not able to prevent,

And was also attacked by many illness great,

And never did I find time to think of thee oh, Lord Parameshwara.

And so Shambho, be pleased to pardon.

My ignorance, Oh Mahadevea.

Stairs to the Temple Room and Garden Rooftop Baguiati, SP©2016   

Stairs to the Temple Room and Garden Rooftop Baguiati, SP©2016


Hare Krishna Hare Krishna Hara Hara S'ivaya Hare Hare. Hari OM. Ma Durga Namayah. Om Parvati shivay. Om Ma Kali Om. Om Nama Shivay. 

Knowledge (is) the waking state of consciousness||8||

The dream state of consciousness (is) thoughts and ideations||9||

Non-discernment or lack of awareness (is) the profound sleep of Māyā --delusion--||10||

He is a master of (his) senses1 who is an enjoyer (of the aforesaid "ābhoga"2 or divine delight) in the triad (of waking, dreaming and deep sleep)||11||

There and Back, Nabadwip, ©SP2016 beautiful beautiful nabadwip. 

There and Back, Nabadwip, ©SP2016 beautiful beautiful nabadwip. 

New Store Open Now!

Well, the recommendation is to write something about one's new store in one's blog. 

So I will try to do that. Here is my new store. The most important thing is that you can purchase cards and prints of some of my most popular recent paintings. There are 4 sets to choose from: 

Earth Spirits
Inner Light
Nature Boy Mowgli

Purchase one or all 4 of these sets of archival, museum quality works of digital print and watercolor on fine 100% Coldpress Surface Cotton Rag print paper. 

Sets and Singles of cards available at Hunt and Gather in Pearl District, Portland Oregon for those in the city. Original paintings and prints are at Hunt and Gather as well. Thanks a lot friends and benefactors. 


Best Wishes, 


Phenomenoa: Text 4

September 18, 2015

All things considered, maya continues to delude me and the masses. Despite certain claims It is truly only through art, through painting, with the aid of mantras and some very poor meditation skills that I survive and find the source of my duty according to Isvara. Suriya. Krishna. 

I thought I should put something in this blog I started. annnnnnnd since I am an American, I will stand by my constitutional right of Freedom of Speech etc. 

So I am in the middle of painting the God of the Dance, The King of Flowers, Pushpam Veda, and was very excited as he emerged out of the flowery billowing flowing water and spoke with me in all of his green-ness. 

And then I ran into this from a friend of mine on FB.  
Four heads of the Bramha and the Four Dimensions of our Universe!

The Hindus have developed many ‘sastras’ [sciences] and they had compiled a science on ‘kama’ [sex] in the name of “Kama Sutra”. Though many had written books on ‘sex’ the most famous of them all was written by the sage Vatsayana. Of course, it is the widely known book of the Hindus to the western world beside the philosophical treatise “Geetha” by the lord Krishna.

But, the western scholars have been in touch with other works of the Hindus and among them the cosmology of the Hindus is very dear to the modern cosmologists. Late Carl Sagan, former director of NASA – in his famous book “cosmology” – claims that “though every religion in the world has a cosmology of its own, only the Hindu cosmology comes very close to the modern cosmological theories but, none other. Some of the concepts in the Hindu cosmology are quite baffling and they go beyond even the imagination of the modern cosmologists” and Mr. Sagan had given some example concepts too it his book.

The “relativity” concepts of Einstein are present in the Hindu cosmology books, especially in the “Bramhanda Purana” – the treatise on the universe. It has been claimed by many that Einstein indeed had red that book before the discovery of his ‘relativity’ theory.

In fact, the 4 – head of the Bramha, the creator of this universe as described by the Hindu scriptures are in fact represent the [Einstein’s] 4 – dimensions of our Universe. The three dimensions are ‘special’ dimensions and the fourth one is the ‘time’ dimension. We could see the three of these dimensions and fourth dimension [time] is not visible to the eye. This is symbolically represented by the 4 – heads of the Bramha, the creator. Three of his heads are visible and the fourth head [time] is not visible to the eyes and is hiding back.

The ancient people were mainly ‘heart oriented’ people contrary to us - the ‘mind oriented people’, the people of this age. We function mainly with the ‘mind’ hence we fail to grasp the terminology of the ancient scriptures those were aimed at the ‘heart oriented’ contemporary people of the past. In fact there is a need to rewrite all the ancient books in the modern language of the ‘mind’. I.e., a translation is required from the ‘heart’ language, the poetic form [symbols, forms and stories] to the ‘mind’ language [equations and numbers]. Unless this happens, we - the modern people will not grasp/tap the ancient knowledge that is far more advanced than the present age.

So, the 4 – heads of the “Bramha” are in fact represent the 4 – dimensions of this Universe. These are all symbolic representations of the facts in the language of the past people, the poetic language. If someone says 4 – Dimensions the majority of the people of the past [can all the modern people grasp?] wouldn't had grasped that concept. So, they described the creator to have 4 – heads. If a person has 2- hands then it implies that his creation, his children too will have 2- hands. So, if the creator has 4- heads means his creation too will have 4 – heads and in our language this is nothing but, the 4 – dimensions of the universe. Everything in the universe has 4 – dimensions as expounded by Einstein.

Apart from the 4 – headed creator [our Bramha] the Hindu scriptures [ex: Bhagavata Purana] claim that there are innumerable creators [Bramha-s] each with varying number of heads and there is no limit to this number of heads. The heads count ranges from - one to infinity. This indicates the knowledge of the ancient people of the – multiple universes or the multi-verse concept of the modern cosmology.

Hari OM. 


Phenomenoa: Text 3


In the trembling grey of a spring dawn, when the birds were whispering in mysterious cadence among the trees, have you not felt that they were talking to their mates about the flowers? Surely with humankind the appreciation of flowers must have ben coeval with the poetry of love. Where better than in a flower, sweet in its unconsciousness, fragrant because of its silence, can we image the unfolding of a virgin soul. The primeval man in offering the first garland to his maiden thereby transcended the brute. He became human in thus rising about the crude necessities of nature. He entered the Realm of art when he perceived the subtle use of the useless. 

In joy or sadness, flowers are our constant friends We eat, drink, sing, dance, and flirt with them. We wed and christen with flowers. We dare not die without them. 


The Book of Tea, Kakuzo Okakura 


   When Lilacs Last in the Dooryard Bloom'd Watercolor on Arches Paper  15" x 11"  © Steven Plount    


When Lilacs Last in the Dooryard Bloom'd
Watercolor on Arches Paper
15" x 11" 
© Steven Plount


Phenomenoa: Text 2

Basho of the Invisible

In his Phenomenologie de la Perception color is presented as a crucial element that contributes to a recognizable set of features as in a painting. Color, then, becomes a quality as important as the primary qualities (height, width, contours, etc.) when it comes to perceiving things as entities. And like any other quality it is perceived as such partly because of its place, location and field; in other words, because of the way it relates to its basho, which remains invisible at the time of perception. In the case of Cezanne's work, we identify a color as it is appearing to us because of its relation to the whole, because of the set of relations there are between the different elements in the painting as a whole. This has a particular impact on what we feel is the reality of things, whether the are colors, paintings, houses, nature, or more abstract entities such as the mind, history, or existence. Each time the appearing of a quality or an aspect of something is perceived, it contributes to building the feeling of permanence, or, to put it differently, the sense of reality. Each time I see the color blue, it reinforces my feeling of the permanence of blue. Each time I see a painting, I know more about the reality of [painting] the painting. From this follows the reality of things, or, as paradoxical as it may sound, their permanence mutate(s)ing in [over] time. Such [general] reality is a felt permanence that we are bound to perceive through the particular. In a way the sense of reality actualizes itself in the very process of appearing here and now. This is what Cezanne was thought to have experienced in front of Mont Sainte-Victoire. Even more, this is what he attempted to communicate through his paintings. The permanence of the mountain is rendered through every single moment of his perceptual experience, in a way that can therefore be seen as diametrically opposed to the impressionists' attempt to render the changing appearance of objects (and essences) by, paradoxically, fixing them in time. (stop motion) 

[this also says something in response to the frivolity of the ready-made and the shallow superficiality of POP and outlines the structure on which to rebuild the aesthetic of beauty and truth in painting. IMO]

Overall the mutual relationship between reality, as a particular instance of what has been called [in the context of this chapter] the invisible basho, and the appearing of such or such a quality as a particular instance of what is perceived is paramount. Each quality appears as it is because of its location within the invisible basho of reality, which in turns becomes renewed each time one perceives such or such a quality. If we [ …] turn to Nishida's [Japanese Buddhist Philosopher, 1870-1945] multilayered logic of basho, we may distinguish at least two dimensions of our sense of reality as an invisible basho. One tends to relate to space and the other to time. When we look at Mount Fuji near Tokyo, like the eighteenth century Japanese artist Utagawa Hiroshige did, the mountain appears as such because of its being surrounded by the blue sky, trees, hill, and, further away, water, as well as because or the particular angle of perception. This environment can be understood as a spatial basho. In addition, Mount Fuji also appears as such because of past perceptual experiences of it, to which one unconsiously relates. This is temporal basho. One's relationship to these two different and complementary basho is precisely what Cezanne was thought to express or communicate in painting. In this sense Cezanne was indeed rendering a truth in painting. 

Merleau-Ponty, Cezanne, and the Basho of the Visible, Gerald Cipriani. Merleau-Ponty and Buddhism, edited by Jin Y. Park and Gereon Kopf, Chapter 8, pages 152-153. © 2009. Roman and Littlefield Publishers, Inc. 

Phenomenoa : Text

TEXT : BACH and Painting. At certain points in two-part inventions, one set of fingers on one hand hold for several measures a long trill on two notes while fingers on that hand and on the opposite hand perform a melody and some harmonic counterpoint.  This type of movement can be found in the way a brush moves across the surface of the paper to some degree. Yet one is spatial and one is time-based. But the same thing can be accomplished in painting the phenomena of the material world and a different silent music is composed. [Listening to Bach Preludes and working on an orchid and some other objets d'art. Summer 2015 passes heat and beauty and silence through the time-zone of the empty beauty of the world.] SP August 2015 

Science and the things themselves

Let us compare painting and science…… "The scientist observes the world as if from outside or above, he or she 'manipulates things and gives up living in (or with) them', By focusing on abstract objects that can be known by a transcendental observer, science loses touch with the real world in which our lives unfold. 

Alternately, science sometimes unfolds (as in cybernetics) as an absolute mechanism or artificialism, turning any successful technique in one region loose on others, without ever asking why the technique works here, but not there. This operational thinking is a genuine threat to humanity—since human nature is existentially created, science threatens to turn us in to 'human machines'  by destroying the expressive Being-in-the-world and essentially inter-corporeal being that we are. 

The only protection is to identify and refuse the pensee de survol  by returning to the 'there is' of the concrete world as the place of our lives. A genuine philosophy (metaphysics) must begin with the phenomenololgical world of the things themselves, and not the scientific world of the things in general. 

Art, and 'especially painting', begins from precisely this 'fabric of brute (primeval) meaning', that is the lived world. The painter is charged with no other task than to capture the appearing of things themselves, taking up the world through and from the visible, and this, Merleau-Ponty suggests, is the 'fundamental of all painting, perhaps of all culture.'"

ibid. Page 75

Painting Ontology

The ontology that emerges in painting is a certain "system of equivalences, a Logos of lines, of lighting, of reliefs, of masses—a non conceptual representation of universal Being". In short, painting is an attempt to gear into the unreflected, or brute, Being of lived experience and of which science is a secondary expression. In fact, in its inexhaustible nature, brute Being would invite an open proliferation of expressions, alleyways transcending our efforts to express it yet existing nowhere other than in our gestures, words and institutions.

To demonstrate the welcoming nature of this Being, Merleau-Ponty considers the evolution from the "prosaic" outline of objects to the modern notion of line. Lines are, of course fictions of representations, in the world lines are merely borders regions between things. Nevertheless, lines render visible the world, and in modern painting the line is not rejected, but rather re conceived as a "certain disequalibrium contrived within the indeference of the white paper; it is a certain hollow opened up within the dimension of the whole, generating space rather then representing space". 

The Merleau-Ponty Dictionary, Donald A Landes, Bloomsbury, London, New Delhi, New York, Sydney, © Donald A Landes 2013, page 79.