p a i n t i n g s
d r a w i n g s
b o o k s
b i o g r a p h y
f o r u m    
c o n t a c t  



Beneath the creation of any piece of art, two interrelated instincts are at work. One is the instinct for expression, to convey a view of life (which in turn arises from the basic attempt to find meaning, to 'contemplate' the world). It is from this attempt to find meaning, to contemplate life that art and literature came into being in the first place. The second is the desire for pleasure, to experience 'beauty'. This may seem, superficially, to be at variance with the instinct for self-expression, but in fact the active expression of a view of life results in fulfillment and pleasure, which is heightened to the degree one partakes of and expresses truth.

This 'contemplation' entails, of course, an act of selection in terms of a particular work of art, taking a particular scene of human life as it unfolds before one and empathizing, knowing, understanding, feeling it as a part of one's own experience. It is from this contemplation and expression that the extreme pleasure afforded by art derives, a pleasure that results from the pursuit of, and experiencing of reality.

Thus 'artistic' in this context may mean more or less the same as 'religious'; when an artist produces a work, his awareness expands in every direction and is amplified, assimilating the vast and profound truth of life in a way impossible in ordinary, everyday activity. The act of artistic expression thus becomes a statement of the universal, and as such is an act of worship in the deepest sense. It is characteristic of art that the contemplation of life that is its prime objective also carries with it the elevation and joy of a profound religious experience, the joy that arises with the growth of truth in the mind of the artist.

Seen in this light, when a work of art is an expression of truth, the distinction between didactic art and 'art for art's sake' becomes blurred or disappears altogether; in the same way, art 'for the sake of the self' and art 'for the sake of an ideal' fuse together and become art expressing the universal."

—Lewis Thompson
Integral Realist, The Journals of Lewis Thompson, Volume 2: 1945-1949
See Portrait of Lewis Thompson by Richard Stodart

                      R I C H A R D  
S T O D A R T     




f l o w i n g  u p w a r d s, 2011, acrylic on paper mounted on board, 28" x 41.5 "

e y e  o f  t h e  d r a g o n : free and easy wandering, 2004, acrylic on canvas, 48" x 72"

i n f i n i t y, 1998, acrylic on canvas, 48" x 54 "


u n b o u n d  l i t h o g r a p h

m a r y  m a g d a l e n e  l i t h o g r a p h

transfiguration of christ  l i t h o g r a p h


Covering more than 40 years of painting experience, the mediator of duality and nonduality is explored as presence, cognition, archetypal awareness, naked awareness, beauty, the dragon, wisdom, synairesis, the consciousness of abstracting, geniality, luxury, and nonthinking, in such pairs as earth and sky, light and darkness, equality and differentiation, thinking and meditation, self and reality, enlightenment and delusion, continuity and discontinuity, engagement and contemplation, among others, in a quest for the expressible.

Anyone interested in Daism, primordial wisdom teachings, Kaballah, Tibetan Buddhism, tantra, Taoism, Vedanta, Dogen’s Zen, Jean Gebser, Alfred Korzybski, and Lewis L. Thompson will find touchstones of the ineffable / the expressible in this book