The Royal Road Test

Why “Jesus of Las Vegas” Sold (before it was finished.)


A few weeks ago we were on the road, in Las Vegas, teaching the Loving Relationships Training. And as usual, I painted one of the Spiritual Masters during the seminar. Since I painted Babaji the last time in Las Vegas, I decided to paint Master Jesus. Sometimes I paint the Divine Mother. Either three of these is a great subject. We call them “The Dream Team.”


“The Dream Team” is composed of the Royalty of all Masters. BABAJI is the “King of the Gurus.” JESUS is noted as the “Prince of Peace” through his total Mastery of forgiveness. And the DIVINE MOTHER is the “Queen of the Cosmos.”  I have painted this “Royal Family” many times, and put this “Dream Team” together on numerous occasions.


It’s not rocket science to realize They already have a wide appeal to the populace. People love to be loved by the Masters. That is why I paint them. They are the ROYALTY of LOVE, and that is what the paintings emanate. People feel their love coming through the paintings. And this is a Royal test I always have on the road when I am painting them: Do I capture this Love energy in the painting? When I do there is always someone in the audience who purchases the painting, and everyone is happy.

So in Las Vegas LRT I wrote down my goal for the training as I always do. This time only one: I wanted to paint a Master-Peace of JESUS and sell it for $2250. I only had that one goal, even before I started it. This is what came out:


Before I was even half finished with the work, Jane Mnoian, one of our students in the LRT, came up to me after a Liberation Breathing session and said, “I want to buy that Jesus Painting.” OK. I told her I would give her first option on the purchase. So when I posted the price for opening bids, she paid the price: $2250, which was what I wrote down in my “goals.” ROYALTY always gets people’s attention, and SPIRITUAL ROYALTY gives LOVE beyond anything else. I passed the “Royal Road Test,” painting a Master-Peace and selling it for my intended price. Who says miracles do not happen?

And Jane is already writing us about the miracles that are happing as a result of having “Jesus of Las Vegas” in her house.

THANK YOU JESUS, for my link to a very ROYAL purpose: I am the “court painter of the “Dream Team.”




I got a message on Facebook from one of our friends and students in Estonia. She asked for a BABAJI painting. She requested I paint her a new BABAJI painting and she had a certain amount of Euros to spend, and would that be an OK price for me? It was in the ballpark of my prices, so I agreed. She also said she did not care how long it would take, or how I wanted to paint it, or when it would arrive to her in Estonia. She said, “I leave it now all to you guys – you and Babaji. :)” 

She gave me total artistic freedom to paint BABAJI however I was inspired. It does not get any better than this for an artist. So I thought, “I am home in Nashville for a few weeks. Why wait? Now is a good time to paint BABAJI FOR ESTONIA.”

I had some blank canvases left over from the last European tour. I pulled one out and taped it up on the wall and began to block it out. I used a photo as a model I seldom use. It is BABAJI meditating, draped in garlands of flowers. One of my favorites of HIM.

fullsizeoutput_2758Of course the painting went through a number of “morphs.” It started out in a kind of magenta color for the sketch. Then a glaze of blue. Then Sondra and I were looking at it one evening and we both said to each other, “The magenta is not it! Where did that come from?” It was too sanguinary. Too damn “bloody.” Maybe Halloween was on my mind. OK, when that happens I have to do something that is bold and drastic to shift the energy.


I had to rethink the whole direction of the work.  Picasso once said, “Painting is a series of creations and destructions.” So now I had to “destroy” the mood of the magenta completely. That would require a new “pass” of blue. “But geez, I am painting BABAJI, not Krishna,” I thought.”


Sondra walked in the room after the second pass of blue and said, “Wow, you really changed it now.” That set the stage for a whole new direction. And after all, the colors of the Estonian flag are Blue, Black and White, so I wanted to be in that energy with the BABAJI FOR ESTONIA. I painted a Blue Divine Mother years ago in Estonia, and a lady bought the painting in the training before I even finished it. SO BLUE was definitely IT!!

fullsizeoutput_329fI gradually got into the Blue. What a striking blue, I thought. Who cares if this BABAJI is melding with Krishna? They are all in the same MIND of God. The blue made the yellow aura and marks of chundun on the forehead even more distinct. POW and WOW! I had a great time painting the flowers. Some of the magenta remnants easily translated into plumb. I was on my way now. And with a couple days of refinement, VOILA! There emerged BABAJI FOR ESTONIA. (102cm X 144cm; 40″ X 58″)

THANK YOU Maren Penu for going with your inspiration to bring BABAJI’s presence closer into you life,  closer into your home, and closer into you heart, where He already resides. BOLE BABA KI JAI! we say: “Hail to the Simple Father.” LOVE to you Maren. Your home will be eternally blessed. It’s on its way to you now, to bless you, your family, and all of ESTONIA!


PS. Giclees are available of this BABAJI for sale. Giclees are original quality prints  of the painting on canvas. They are virtually EXACT replicas. I have two the same size of the one I sent to Estonia, and two half the size.


BABAJI, My Miraculous Meetings With A Maha Avatar

A new book on BABAJI by SONDRA RAY with MARKUS RAY

HI. We are about to launch a new book. Here is the cover. The book contains all of SONDRA RAY’s wild stories of all her person to person meetings with her Master, Sri Sri 1008 Haidakhan Whale Baba, also simply known as BABAJI. It also contains most of my paintings I have done over the past 8 years of BABAJI, and poems to Him I wrote in Herakhan and around the world. Below the cover is an excerpt from my section of Poems to a Maha Avatar. Enjoy this “sneek peek.” MARKUS RAY


Interlude No. 3

Sondra and I came to Catalina Island three days ago to focus on this writing of this book. The setting in which a writer does his work is very important. For me, the setting that surrounds me is the raw material for inspiration. I get myself as much into a state of silence that I possibly can and just listen to the sound of my own response to what I sense around me in these settings. One could say that beauty is a necessary ingredient. But beauty can be found in virtually anything, even in a pile of trash. The proper charge of a creative mind is one of neutrality in an acute state of attention. I give credit to the wise who say that inspiration can only happen when the mind has been brought to zero, to empty. Having been a visual artist as well for the past forty years has taught me that the best paintings are the ones that are not preconceived, but rather, the ones that unfold as I go and are the results of exploration in the moment. The meaning of true creativity is one free of the past. Of course, with writing of poetry, I decide to use the English language that I have been taught. But the manner in which I use it to describe the unique happenings in my mind and my world are as new and fresh as a snowflake or a maple leaf, though similar in structure to its myriad of siblings, never to be repeated in the past, present, or future ever again. No two thumbprints are alike, but everyone has them. This is the state of mind in which I place myself before commencing each work. Even now in this interlude, I invoke this presence of emptiness, of stillness, to bring forth what I need to communicate. I am happy to be free of “trying” and “managing.” There are enough managers in the world. A poet does not manage; he listens. And in that silent listening to the sound of his thoughts, his own impressions, the greatest force of nature interfaces with his awareness, and something powerful comes through him, the very spark of creation that caused the big bang in the first place. On Catalina, my impressions would be different—but also the same. The maple leaf is a palm tree, or the snowflake is a wave of saltwater, but the same force of Babaji Who permeates all things lovingly comes forth into the directions and power of my words. I do not take credit for them. Yes, I am the one still enough to hear them and write them down, but without this divine connection to the stillness and silence within, I would be amiss in the projections of my ego, trying to write something profound that was not my own. The gifts I inherited from my grandmother, Grace Balo, and my father, Michael Sullivan, gave me some kind of love for words. Many teachers came together in this work, came together inside of me for these poems to come forth. I cannot mention them all here. I have, no doubt, a debt to pay to the mentors that everyone of true intelligence has had in their life who opened their eyes to a different and new way of seeing. I refer to them simply as the wise.* Anyone who has deep interest in getting to the truth of the big questions “Why are we here?” “What is the meaning of my life?” “Is it possible to be free of sorrow?” find that they need the guidance of someone wise outside their conditioned system to liberate them from the grooves of their own limited thinking. These beings who have gone ahead of us are truly out there for our benefit; why not use them? This book on Babaji puts you, our reader, in touch with a higher reality that you can access directly. Babaji, a maha avatar, resides far beyond the boundaries of our thinking, yet is more accessible to you and me than the inhale and exhale of our own breath. Babaji is the real part of your mind that knows who you are. We are all children of a loving Creator. This is a fact, whether you are a poet or a political head of state, or you are an enemy in the eyes of someone who has felt wronged. A maha avatar is not confined to any one religion; in fact, He is beyond religion. It doesn’t matter what your religion may be. He will insist on you knowing yourself. And the home of your self is zero, that stillness and silence within that permeates everything.

* I give credit to my teachers Ihaleakala Hew Len, PhD, and Tara Singh.


Why I paint Babaji

Babaji in Las Vegas

I never cease being inspired to paint Babaji, especially in the seminars that Sondra teaches on Relationships, Spirituality, and Healing. It is my form of “invocation.” Being trained in the arts, my deepest drive to express myself is often non-verbal. Therefore, painting is a natural medium for me to bring in something from other realms.

I paint Babaji because I feel His presence is important to help people in these times. You could say any spiritual Master is accessible to anyone, anytime. People just have to be sincere in  asking for Their help, and be willing to receive the help once they have asked for it. My draw toward Babaji is because He is so accessible. And He is the embodiment of such simple wisdom: Truth; Simplicity; Love; Service. And He also teaches liberation through work, or “karma yoga,” is the quickest way to evolve. “Work is worship,” is one of my favorite instructions from Him. So I paint Babaji as a major part of my “karma yoga.”


Last weekend Sondra and I were teaching the Loving Relationships Training in Las Vegas. I was guided to paint Babaji, one more time. He is never “old hat,” even though I have painted Him hundreds of times over the past few years. I started out with an earth tone palate, which I seldom do. Probably because in Las Vegas, one is very aware of the desert like quality of the land.  Burnt Sienna became the “field” on which I started. Once I had the facial features blocked in, I mixed a lime green that was rather explosive when I laid it on top of the reddish brown. POW! That was it. You could say the whole color scheme became all about this powerful combination.

I remember one time in my graduate school days I did a work with a medium pink background, with some swatches of sky blue on top. My painting professor, Stephen Greene, was positively impressed with those two colors together. Often, painting is a simple thing. In this case of Babaji in Las Vegas, this green on burnt sienna says it all. Babaji likes to paint and be painted. He is a playful sort of guy. People like to watch Him unfold in the painting. It is very uplifting to watch Him emerge out of a color “stew” and end up staring you in the face. Staring me in the face for starters! This is why most of the time, I consider these works to emit an actual encounter with Him. In India they call this encounter a “darshan.” That is why I love to paint Babaji. I am giving myself and the people the opportunity to “have darshan” with Babaji. Through His “darshan” you receive His many blessings. What could be better?

Bole Baba Ki Jai! as we say.

Mike and Ali Orci have Him in their home now. Rock your world with BABAJI, you guys!


GO HERE to have one:




Albrect Durer was one of my art heroes growing up in my teens, and one of my strong influences to pursue the life of an artist. I had a small hardback book, simply called “Drawings,” by Durer. I was particularly influenced by his engravings that were exquisite. In the Germanic style of attention to detail, I could get lost in the intricacies of his drawing, in the “scenes within the scenes” of his thorough depictions of his subject matter.

On the cover of this book was a colored drawing of a wing. It was, as usual, in the style of Durer who accurately depicted all its detail, emitting a presence and a stillness that transcended time and space. Painted in 1512, it might as well have been painted in 2016, over 500 years later.


Recently I was inspired to do a series of wings. Wings are indicative of flight. Flight to a new dimension. Flight to a new place. Flight to a freedom hitherto unexperienced. I painted 12 wings in the month of September and October. They are drawn and painted with watercolors and colored pencils, some ballpoint pen, on 9″ X 12,” 100% acid free rag Arches WC paper that has been produced in the same place in France since 1492.

You can purchase this series of Paintings Here:

I hope you enjoy the “Wings” as much as I felt the freedom of painting them.

THANKS for tuning in.  MARKUS RAY





























WING #10



WING #11



WING #12


A vision in Umea, Sweden.

We have been to UMEA, Sweden, a couple times now. There is a peace in the land. Perhaps Scandinavia has this all over. One feels it in Denmark and Iceland as well. Even Estonia, one of the Baltic States, has this summer vibration of peace coming up from the land. I wonder if the long winters and almost perpetual night in those months has something to do with such a deep tranquility one feels here in the summer.

I painted this scene looking out from the balcony of our apartment here in UMEA. Of course a river and a bridge is cliche, but none the less inspiring subject matter. I painted these last year, and left them as a presents for Gunilla, in whose apartment we are staying, and Marianne, who organizes sessions and events for us here.



The peace of Sweden is very much a part of the attraction to this Nordic country. We come here to be rejuvenated, and restored. Sondra’s mother was pure Swedish. An appreciation comes over us every time we enter the North. We are enveloped by its pastoral beauty. I like the North. Had many past lives here, I suspect. Good ones, it feels like.



All paintings go through a metamorphosis. Picasso said something like, “Painting is a series of creations and destructions.” It is not merely an additive process. Sometimes a change is made that destroys the nature of the previous phase. Not always is this “destruction” for the better. But it is always in the momentum of this creative/destructive dynamic, therefore other Forces are called into play.
IMG_1009 A basic theme is established. That is given. And most of the time this theme is maintained throughout. For instance, this Babaji spoke out to me, “Include the hand.” I remembered a Leonardo Da Vinci portrait that impressed me with the use of a hand: “Portrait of a Musician.”  The touch of the fingers grounds our own “touch” in the picture. We feel the man’s presence, our presence. It is like we are “meeting him” in person.


To create this “palpable presence,” there is always a factor of the Unknown in any creative project dedicated to this direct communication. That is what makes it creative. In fact, the Unknown is the SOURCE of inspiration and creativity. Granted there have to be the basic skills of the known behind any craft. But the moment that pushes these skills beyond the edges of the “known” is from a SOURCE in which the line between being or not being is very faint. I knew about Leonardo’s use of the hand, but not about my own use of the hand in portraits of Babaji. That was my risk of jumping into the Unknown.

IMG_1010The other new factor in this painting is that I composed it in a “square.” Usually I do not work in a square. I feel better about a rectangle that is taller than it is wide. But for some reason I was guided to the square format. There is a “square” format on my iPhone camera, and Instagram composes in Squares. So I thought I would move with this momentum of the technology out there.
IMG_1231The more “sketchy phases” of the painting in the beginning are usually fresh and spontaneous. The painterly strokes of the brush, in their rough qualities, are more apparent. It is always a question for me, how “tight” do I want to take the painting? I try to maintain the freshness of beginning stages in the progress of more specific definition. But once a decision is made to “tighten up” an area, there is usually no “going back” to the phase before: the phase before is destroyed. So this is what Picasso meant: “Painting is a series of creations and destructions.” I have to be OK with the “destructions, and the “not going back” aspect of moving forward.

FullSizeRenderIn this final version of “Babaji in Barcelona,” which is roughly 140 cm’s X 140 cm’s, (about 55 inches by 55 inches), I wanted the “touch of the hand” coming into play with the direct gaze of the face. I wanted the painterly qualities to be maintained, yet have clear definition of the elements and the color. The tip of the nose is at the “geographic center” of the square, which lends a very balanced composition. I struggled with the background a bit at the end, until Sondra said to me, “Just paint it green.” So that is what I did, with a “halo” of yellow.  Bole Baba Ki Jai! I finished the painting in Szczecin, Poland.

I am taking bids now for this new painting, starting at $2500 USD plus shipping costs. Send bids to Enjoy. MARKUS RAY


Babaji, Jesus , and the Divine Mother


This Triptych is my wife’s, Sondra Ray’s, favorite. It represents what we call the “Dream Team.” Babaji on the left, Jesus of A Course in Miracles in the middle, and Ammachi as the Divine Mother on the right.

Why do we call them the “Dream Team?”

Spiritual Masters are very much needed in our evolution to awaken ourselves to our absolute Being, who we really are. The Masters are simply people who have already done this. They stand as the “helpers” of humanity to achieve unconditional love. They incarnate without the enmeshment into personality issues and problems, although they understand fully what these problems are. Because they understand, they are able to liberate us from the “problems” that we made up. This “awakens” us to be in our God Created Self, to abide in our True Identity we share with Them and all humanity.

For us, these three Masters provide a complete team for our liberation. Babaji gets us in touch with the Elements: Earth-Air-Fire-Water-Space, and helps us to dedicate our lives to TRUTH, SIMPLICITY, LOVE & SERVICE. Jesus helps us to see our thoughts are what produce our results, and He helps us to change them. He gives us forgiveness as the means for escaping the negative effects of our cellular memory, past mistakes, even thoughts of death, etc. Ammachi, who is an incarnation of the Divine Mother in these times, puts us immediately in a state of unconditional love. She hugs thousands of souls a day, and Her blessings are available now, in the flesh. Her blessings are well worth your devotion, and help you transcend all separation you may feel toward your brothers and sisters who may not think like you.

Combined, we call these Masters our “Dream Team” because they guide and direct our life toward our own Liberation and Enlightenment. They help us to “be all we can be,” and ascend to higher levels of our human evolution. They “cut time” for us and “blaze a trail” that we can clearly follow to be a great soul. We call them the “Dream Team” because they form a miraculous combo. Isn’t it beyond your wildest dreams to have them “together,” accessible in this lifetime? It does not get any better than this.

As for these particular paintings: the Babaji I painted in the Italian Alps; the Jesus I painted in Brazil; and the Divine Mother I painted in Valencia, Spain. I put them together in this triptych to give darshan of their whole presence to anyone who wants to relate to them as “a team.” They can give you an extended blessing when you have this painting in your home. E-mail purchase inquiries to

—Markus Ray—



Painted in Copenhagen

There is something about Denmark and the Danes that appeals to me. Maybe the simplicity of their lifestyle. Maybe they do not see themselves as I do, being an American. They have a polite but questioning nature. They are generally very educated, informed of all the facts, without being stuffy about it, and willing to step outside the box if need be. But Danish Modern did not get to be a coined phrase in the furniture style industry for nothing.

The Danes are frugal people. Not as fastidious about order as the Germans, but exhibiting qualities of keeping things pared down to the least common denominator. But they are also up to date, heads looking forward, not behind in the past. Their lines and materials are well used. They tend to love the black and white of things. OK with a simple drawing. They have a sense of aesthetics that is related to the sea, by which they are surrounded. Less concerned with embellishment, they are devoted to good function. Their forms follow function in most things. They build their furniture like ships—everything in place to make the thing float.

The open space of sky and sea, even in the green countryside, gives one a sense of simplicity and expansion in Denmark. The people and their art have the same. To the point. No extraneous fluff, or arabesques, or French provincial curly ques. Clean lines. Danish Modern. A sense of simplicity and space.

Danish people’s hospitality is unsurpassed. They will take you into their homes and treat you like an honored guest—a family member, but better. They will cook you three meals a day and think nothing of it. Then sit around after dinner and discuss deep things—philosophical imperatives, and such. TV is secondary, or non-existent in their living rooms. They would rather connect with real people than virtual ones on a screen. They lust after the meaning of life, and are OK having a good time along the way in the discovery.

I painted this BABAJI there, in Copenhagen. I felt the directness of it. Only a few colors. Hit the drawing right on the first time. Some lady who lives in Malmo, Sweden, across the bridge from Copenhagen, purchased it. Must be doing fine in her place, performing its miracles.


(If you are from outside the USA, canvases will be sent un-stretched, rolled up in a tube. Sorry. Too costly to send any other way. In the USA, they come stretched and ready to hang.)