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
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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.
venantius.pinto@gmail.com
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.
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.
venantius.pinto@gmail.com
