Tuesday, September 11, 2018

A cover for the Naugatuck River Review

To engage with thoughts, and those of others 
a larger consciousness. Sympathetic space.
The why of things, occurrences, stirrings, evocations, 
the space between one's legs, a visage, the tilt of a head, 
Spaces that certain people simply seem to inhabit.

Naugatuck River Review, a journal of narrative poetry. Summer/Fall, 2018 - Issue 20. ISSN: 1944-0952
Publisher/Managing Editor: Lori Desrosiers
Associate Editor: Michael Mercurio
Guest Editors: Tamra Callaher. Howie Faerstein, Anita Gallers, Robbie Gamble, Ellen LaFleche

Cover Artists Statement

Venantius J Pinto, a graduate of Pratt Institute, is a 7th Dan in Shodō. An artistic laborer of Indian descent; born of Goan parentage, he grew up among many religiosities in India; and lives in New York City seeking for possibilities into phenomena that pass within his senses. From 1992–97, he was an Adjunct Professor at FIT, and was gainfully employed at OgilvyOne and later at DDB. Over the years he has maintained his freelance practice.

His art has appeared in the Kyoto Journal, Philosophy Now, two academic books, showcased in An Illustrated Life, on the covers of Pirene’s Journal, and Canon for Bears and Ponderosa Pines; in Fusor de Tintas: A century of combat poetry, Mexico. Aani and the Tree Huggers was on the Smithsonian magazine’s Most Notable Book List. He was Artist-in-Residence at Nagasawa Art Park Japanese Woodblock Printmaking in Awajishima, and has painted murals including in 2017 in Argentina, Colombia and Mexico. He has collaborated with Sondra Graff on projects for various dance companies, including Lucinda Childs, Jose Limon, Doug Varone and Dancers, Dance Brazil, and for The British Dance Invasion.

To engage with thoughts, and those of others
a larger consciousness. Sympathetic space.
The why of things, occurrences, stirrings, evocations,
the space between one's legs, a visage, the tilt of a head,
Spaces that certain people simply seem to inhabit.

Since early childhood, I was drawn to color, detail in objects, faces, and things that projected unique lines; realizing that lines convey movement which in turn express what even the senses may not register. Looking into the spirit of language and the spirit in color is a critical part of the process, whether by seeking depth in a proverb or being touched by color resonances. Ethics more than aesthetics concerns the primary focus. The aesthetics fall into place once I am sufficiently propelled to act on form.
In that sense my concerns are phenomenological: This concern perhaps stems from a desire to give meaning to differences in my existence compared to that of another person.

Line and marks define, convey momentum;
Delineate space, pierce space, radiate space, sensibilize space.
They hatch texture, layer tone
Split the curtain, raise up storms;
Approach as tsunamis, create Upheaval;
Give hopes their horizons
Convey sensibility.


Sunday, July 8, 2018

Katelyn Franklin's, Horsy Land

When I was in first grade in India, I won a book on horses for standing First in class. That book in 1967 (if I am not mistaken) introduced me to all kinds of horses, including the Pintos, Piebalds, Shetland ponies, Morgans, the Clydesdales, the Arabians, the Palominos, the Lippizanners, and other splendid breeds.

This post incidentally is to celebrate the site Horsy Land which is maintained by Katelyn Franklin of Brooklyn. It introduces one to horse training and various breeds while elucidating succinctly what is special about a given horse.

As a child I was impressed with the picture of the Morgan in my book, but also because of my mother's cousin, was named Morgan! Few of us were aware of where names came from and how they were assigned. For instance, my mother picked my name Venantius from the Salesian calender. So from reading about the Morgan horse provided this information under What Makes a Morgan Horse so Special?


photo: Horsy Land, Kathelyb Franklin 

The Morgan horse has been known as the first family of American horses. The early development of the breed took place in the New England states... 
And that too after almost 51 years. Of course, there was no good reason to look it up, as with so many things encountered in childhood; and besides, we did not have an encyclopedia at home. And further:
Legend has it that, one evening during the Revolutionary War, Colonel De Lancey, commander of a Tory mounted regiment, rode up to an inn at King’s Bridge and after hitching his famous stallion, True Briton, to the rail, went into the inn for some liquid refreshments, as was his custom. While the Colonel was celebrating with liquor and song, the Yankees stole his horse, later selling the animal to a farmer near Hartford, Connecticut. The whimsical story goes on to say that True Briton later sired the fuzzy-haired colt that was to be christened after his second owner, Justin Morgan.
I plan on visiting the Horsy Land site and am looking forward to the possibility of drawing horses when I get/have the opportunity to do so. 

Monday, January 8, 2018

“Dear Venantius J,
Thank you for submitting your work to Illustration Daily. The editorial board has decided to publish your illustration and it is now on the website.”

WOOT! Lord, you do have a plan for me don’t you? ¡WOOT! Señor, tienes un plan para mí, ¿verdad?

Monday, September 4, 2017

Dioses EHECATZINTTI (Ehécatl) y VAYU (Vāta, Pavana, Prāṇa)

Looking forward to an encounter of encounters in November, with the community of Ecatzingo, and those of Nahua ancestry together with God Ehecatzintti (Ehécatl)[1], and I, showing up with God Vayu[2], the deified name in India for the phenomenon that is wind (ergo, God of the Winds); to meld thoughts and ideas. Of course, as always, my Fathers will stand with me in benign attendance. I could not do it any other way. Now, what if the other wind deities decide to show up? 

[1] from the air
[2] “Vāta, Pavana (“the Purifier”), sometimes Prāṇa (the breath)”

Esperando un encuentro de encuentros en noviembre, con la comunidad de Ecatzingo, y los de ascendencia Nahua junto con Dios Ehecatzintti (Ehécatl) [1],  y yo, trayendo a Dios Vayu [2], el nombre deificado para el fenómeno que es el viento (por lo tanto, Dios de los vientos), mezclará pensamientos e ideas. Por supuesto, como siempre, mis Padres estarán conmigo en asistencia benigna. No podría hacerlo de otra manera. Ahora, ¿qué pasa si las otras deidades del viento deciden aparecer?

[1] desde el aire
[2] “Vāta, Pavana (“ el Purificador ”), a veces Prāṇa (la respiración)”

Friday, December 30, 2016

Todo es gracia :: All is grace

Life puts us in peculiar situations, and boy, does one learn or what? And one learns to takes charge, something that I have been averse to doing, on other turfs. So, before we slip into 2017, I’d like to put this thought out of my mind! 

First of all, my appreciation goes out to Jesús Rodriguez Arevalo for initiating my nascent journey into painting murals and that too in Mexico, and also to our mutual friend Marco Patiño (of Puerta Niebla, Mineral, and Pachuca) for being a good conduit. Moving on, when I was painting my first mural at the UAEH campus in Actopan — it was sad hearing somebody say that I was a designer, and how could I possibly paint a mural. On what basis had I been invited! And besides, I did not speak Spanish, which was true. Here Marco Antonio Hernandez was an immense help, in valiantly translating for me. As was Yolanda Alamilla.

But still, it was sad, considering that I had taken on a huge reality, in fact negotiated (in my feeble Spanish) the entire huge wall (there was nothing insane about doing so) instead of the quarter part we have been allocated; besides, it should have been immediately apparent that Paulina Genea, and I were doing a good job — despite my inability to converse with her in Spanish; it being my first mural; working eventually off of a ladder while holding paints, and brushes at a height of about 25 plus feet. Truth be told, there was no equipment for such a large surface, Yet, resolving problems with the able assistance of Alecs Gómez (when he was available). But we came through, and no one has said anything more. On another note, one of my NY friends, a Japanese bloke who later said: Venantius, it was a collaboration in parts!

I went to the next encounter, to square things off, to give back, to be out of debt. And I appreciated the opportunity. I pushed it a couple of notches higher on both sites (Biblioteca de Actopan, and in Col. Morelos), something I could have done the first time around. Patience, and time. Time will tell.

Recently, on my third encounter, I pretty much stayed in my corner at the end of town in Col. Morelos. And it was quite blissful. I think I missed most of the activities, because I forgot that I have been handed a piece of paper by Juan Manuel Ruiz with the scheduled activities. It was a blessing that I was pretty much forgotten. No one came for me. I finished in good form, considering I had started very late on the murals, and having to deal with other logistical issues. All is grace. 

La vida nos pone en situaciones peculiares, y muchacho, ¿uno aprende o qué? Y uno aprende a tomar la carga, algo que he sido aversión a hacer, en otros céspedes. Así que, antes de entrar en 2017, me gustaría poner este pensamiento fuera de mi mente!

En primer lugar, mi agradecimiento a Jesús Rodríguez Arévalo por iniciar mi incipiente viaje en murales de pintura y también en México, y también a nuestro amigo común Marco Patiño por ser un buen conducto. Continuando, cuando estaba pintando mi primer mural en el campus de UAEH en Actopan - fue triste oír a alguien decir que yo era un diseñador, y cómo podría yo posiblemente pintar un mural. ¡Sobre qué base me habían invitado! Y además, yo no hablaba español, lo cual era cierto. Aquí Marco Antonio Hernández fue una inmensa ayuda, en valiente traducción para mí. Al igual que Yolanda Alamilla.

Pero aún así, era triste, teniendo en cuenta que había tomado una enorme realidad, de hecho negociado (en mi débil español) todo el enorme muro (no había nada insano en hacerlo) en lugar de la cuarta parte que hemos sido asignados; Además, debería haber sido inmediatamente evidente que Paulina Genea, y yo estábamos haciendo un buen trabajo — a pesar de mi incapacidad para conversar con ella en español, Siendo mi primer mural; Trabajando eventualmente fuera de una escalera mientras sostiene pinturas y cepillos a una altura de unos 25 pies más. A decir verdad, no había equipo para una superficie tan grande, Sin embargo, la resolución de problemas con la ayuda capaz de Alecs Gómez (cuando estaba disponible). Pero llegamos, y nadie ha dicho nada más. En otra nota, uno de mis amigos de Nueva York, un tipo japonés que más tarde dijo: Venantius, fue una colaboración en partes!

Fui al siguiente encuentro, para cuadrar las cosas, para devolver, para estar fuera de la deuda. Y aprecié la oportunidad. Lo empujé un par de muescas más alto en ambos sitios (Biblioteca de Actopan, y en Col. Morelos), algo que podría haber hecho la primera vez. Paciencia y tiempo. El tiempo dirá. 

Recientemente, en mi tercer encuentro, casi me quedé en mi esquina al final de la ciudad en Col. Morelos. Y fue muy feliz. Creo que me perdí la mayoría de las actividades, porque olvidé que me han entregado un pedazo de papel de Juan Manuel Ruiz con las actividades programadas. Fue una bendición que me olvidaran. Nadie vino por mí. Terminé en buena forma, teniendo en cuenta que había empezado muy tarde en los murales, y tener que lidiar con otros problemas logísticos. Todo es gracia. 

Tuesday, November 4, 2014


A collaboration with Marco Patiño, Pachuca, Mexico. 
Conversation, sharing ideas, beers, and more ideas. 
Ballpoint, jell pen, and crayons on beer bottle separators.

Wednesday, October 22, 2014

on Academia.edu

Offering some of my texts on Academia.edu, focussed on drawing through various conduits. Hopefully a new fork in my journey through writing, if not a whole new jtrajectory. 

Speculatio through drawing, is a paper I presented on Sept 14, 2014 at Crossing the Line 2, at the American University in Dubai. 

Thank you all.