World’s fastest painter Parijoy Saha — 5 artistic world records, bare-hand speed paintings, abstract, realistic and landscape works created in under one second.
world's fastest painter with 5 artistic world records : Parijoy Saha
Parijoy is an Indian Brahmagyani tapasvi, a self-realized and enlightened spiritual teacher from Kolkata. He has dedicated his life to guiding humanity toward God’s path of peace, devotion, and perfection. Through his teachings and his book “God, His Creations and You,” Parijoy shares divine wisdom drawn from experience, reflection, and faith — revealing how to live with truth, humility, and surrender to God’s will. His message is simple yet profound: “The universe is good, not evil. God is doing the best possible for everyone, including you and me.” 📧 Contact: parijoysaha@yahoo.co.uk 🌐 Official Blog: teachingsofparijoy.blogspot.com parijoysaha.blogspot.com Parijoy is also the worlds fastest painter with five artistic world records.
ABOUT MY UNUSUAL ART : DETAILED INTERVIEW FOLLOWS :-
“Parijoy Saha, the world’s fastest painter with five artistic world records, creates unique paintings using only his fingers, nails and palms. His art techniques combine speed, creativity and spiritual discipline. This post explains one of his signature painting innovations.”
Tags / Keywords :
Finger painting
Nail painting
Bare hand painting
Speed painting techniques
World’s fastest painter
Parijoy Saha art
Abstract art
Experimental art
White glue painting
Texture art
Indian artist
Art innovation
Unusual art techniques
Creative process
Sand art texture
Modern abstract painting
Rapid painting
Novel art techniques
Inspirational art
Spiritual artist
Related Reading: To explore the spiritual foundations behind creativity and intuition, visit my spiritual teachings blog: https://teachingsofparijoy.blogspot.com
Go through my blog https://teachingsofparijoy.blogspot.com for my teachings. I am a brahmagyani tapasvi, an enlightened guru and spiritual leader.
My art is the creation of beautiful, attractive, wonderful, interesting and visually appealing paintings using only my nails, fingers and palms and I do not use paint brushes to create these paintings. I use white glue and water colours to create my art. Very recently I have started using sand as well.
Today I am 44 years of age. But when I was child I was taught to copy cards and sketch things I see in nature like leaves, human beings etc. Today I do not like painting or sketching what already exists in nature i.e what I have seen in this world but instead I love to see new things getting created through my hands, things that I have never seen before, things that did not exist in this world before. My works are not replication of nature.
Instead I am a part of nature gifted with creativity, creativity which again as I have observed in my case is some thing that flows mostly naturally without much of effort, thinking or planning.
Before a painting of mine gets completed I mostly have no idea what it is going to look like. I actually rejoice every time a wonderful work is created by me. I rejoice wondering how such a self appealing work got created by me. I feel every work of art created by me is a gift of God to me, because my works appear to me more to happen to get created on their own than through my actual own planning. I many times do not plan how I am going to proceed and I do whatever I feel like doing, sometimes out of impulse.
My methods of painting using nails, fingers and palms are novel. I started my novel finger painting in 1995-96 and it has evolved with time particularly in the recent past.I have not learnt the methods from anywhere. Today my methods include taking impressions, folding and crushing, dripping to get variety of effects and results.
When white glue which I use dries up, it becomes transparent and if you add a very small quantity of water colour to it, it becomes translucent when it dries up. I have used this property to create very interesting works. Also when white glue dries up it gives a raised effect, thus textures get created and recently I have been using sand with white glue as well to get some interesting textures.
I myself cannot reproduce my paintings on my own using the same methods and therefore they are unique.
I do expect to keep on experimenting and coming up with newer methods of creating art with fingers, nails & palm.
I do not have an art background, i.e. an art degree / diploma and this leaves me with no other choice but to end up experimenting, doing and learning. The whole thing about painting with nails, fingers and palm started with an experiment and fearless experimentations are still on.
I remember the first drawing competition I participated at my Convent of Jesus and MarySchool in Ambala. I was studying in KG and I drew a flower vase with flowers. I kept on making flowers and at a certain stage everything looked nice. But I was not satisfied, there was the urge to experiment, and I went on to make still more flowers till I ended up making a wonderful looking bright picture of flowers with a small vase. I was not contended with what I made but I received the first prize. The urge to experiment without fear of loss seems to have been within me since then only because I want to do better and probably want to experiment more to learn more.
Nobody taught me how to make sculptures but yet again it was experimentation, the automatic right moves, right pressures applied and the right angles at which I ended up carving that helped me become a sculptor. I used to pick up stones from the back yard of my ArmyPublic School in New Delhi and make sculptures with them. I have also made Plaster of Paris sculptures. However while a student at the Welcom group graduate school of hotel administration, Manipal I learnt how to make pumpkin, water melon, salt dough, gelatine and thermocole carvings. I still sometime do professional fruit carving. I have done some professional set / prop designing for stage shows of Aishwarya Rai and others along with Vikram Phadnis as the choreographer of those shows.
I used to sketch portraits when I was young. But now I intend to do only nail, finger and palm painting as this is most satisfying than all my other artistic abilities.
When I was young I appreciated the beauty of nature and also felt that God is the greatest artist.
I believe that He has made all the beautiful things in nature. He has made the beauty of beautiful flowers and butterflies which sometimes seemed to me as unparalleled.
Seeing the huge world, the distant sky and when I compared the possible difference in the physical size of my body and that of the universe, I could imagine how powerful the creator of this universe i.e. God must be and also realized how small I was compared to God. Now I started praying to God that I wanted to become like his loved son and I wanted to be a good human being, living for others good i.e. I wanted to do charity etc.
Years later I started praying to God that I wanted to become according to his desire which meant that everything that I do should be what God wants me to do.
My creation of paintings seems to be blessed by God and my actions happen to appear to be just right and just as they were meant to be, everything falling into place till the right painting gets created.
From start to end of making a painting it is a puzzle which seems to get solved on its own with me sometimes ending up doing the right things automatically ( doing the right things by chance) and with me sometimes ending up taking the right decisions. Mostly I am surprised and appreciate what gets created because I personally mostly find the outcome wonderful.
My paintings have no title since they have no meaning. But as I said before they are attractive, wonderful, interesting, beautiful and visually appealing things which I think can too be used as a decoration on walls like any other painting with a title or a meaning.
I have received a lot of appreciation for my work. But some people do look for a meaning in my art. Few also do find some meanings. But however there is no meaning intended.
A child who sees a beautiful flower for the first time likes it and wants it because the flower generates interest and liking in the child. The child does not know that this beautiful thing that he is attracted to is called the flower but however he wants it only because he is attracted towards it.
Similarly people get attracted towards my paintings even if they do not find any meaning in it.
Only g played from instruments without any lyrics too have no meaning but we do like it.
This art is my profession. I love it. But one tough thing about it is washing my palms covered with white glue every time I complete my work.
Truly speaking I paint for myself though this is also my profession. I do not paint by observing what sells in the market. But I choose to paint what I like and that gives pleasure. I am not ready to sell a painting unless I am completely satisfied with the creation. I try to work further onn only a creation that I am contended with will be liked. If I am not contended how can I show such a work to someone, leave aside sell.
General artists use acquired skills through practice to convey a message or depict a meaning through their art but I create artworks naturally to create things beautiful without any meaning.
General artists copy and recreate forms from nature that have seen with their eyes in this world, but I create beauty that is not copied from various things in nature.my paintings are just beautiful.
My art is an endeavor to create beauty with fingers , nal and palm before the my art medium fevicol dries. Fevicol dries up very fast. Therefore the total time I take to complete my paintings in less than a minute maximum. I apply fevicol on the entire sheet of paper before starting painting and finish the entire painting before the fevicol dries or thickens.
— ORGANIZED VERSION FOR READERS & MEDIA —
ABOUT MY UNUSUAL ART – DETAILED INTERVIEW
My art is the creation of beautiful, visually striking and completely unique paintings, made only with my fingers, nails and palms.
I do not use brushes—my hands are the medium.
My materials are simple: white glue, watercolours, and sometimes sand for texture.
🌟 A Creative Journey Rooted in Experimentation
Ever since childhood, creativity came naturally to me.
I copied greeting cards, sketched what I saw around me, and enjoyed experimenting.
But as I evolved as an artist, I realized something important:
I no longer wanted to paint what already exists.
I wanted to create what has never been seen before.
My paintings are not replicas of nature—they are new realities brought into existence through spontaneous creativity.
🎨 The Magic of Spontaneous Creation
When I paint, I rarely know what the final work will look like.
I let intuition guide my hands.
Colours mix on their own, textures rise on their own, and the painting reveals itself as I work.
Every completed artwork surprises me.
It feels like a gift from God, emerging almost effortlessly and perfectly timed.
🌿 My 11 Novel Bare-Hand Painting Methods
I started experimenting in 1995.
By 2007, I had invented 11 unique painting techniques using:
Finger impressions
Nail strokes
Crushing and folding
Layered glue textures
Translucent glazing
Sand + glue textures
These techniques allow me to complete extraordinary paintings in less than 30 seconds each.
The raised textures and translucent colour effects are created by the properties of white glue when it dries.
✨ Art Without Meaning, Yet Full of Feeling
My paintings do not have titles because they are not meant to depict a specific meaning.
Just like a child who loves a flower without knowing its name, people enjoy my paintings because they are:
Beautiful
Colorful
Emotional
Visually powerful
Similarly, instrumental music without lyrics is meaningful simply because it feels good.
My art works the same way.
🌟 Unique, Irreproducible Paintings
Each painting is one-of-a-kind.
Even I cannot recreate the same artwork again because:
glue spreads differently each time
colours react differently
pressure of the hands changes
folding patterns vary
This makes my work exclusive and completely original every single time.
📚 My Artistic Background
I do not have a formal art degree.
Everything I know has come from fearless experimentation.
Over the years I have also created:
stone sculptures
Plaster of Paris works
fruit carvings
vegetable carvings
stage set designs (including for Aishwarya Rai)
But my heart belongs to finger, nail and palm painting.
🙏 Divine Inspiration Behind My Art
From a young age, I felt deeply connected to God and His creation.
The vastness of the universe made me feel small yet inspired.
I prayed:
“God, make me according to Your desire.”
Today, when my hands move automatically during painting, I feel it is His blessing guiding my creativity.
🎨 Professional Commitment to Pure Creativity
I do not paint what sells in the market.
I paint what gives me joy.
Only when I am satisfied with a painting do I consider it complete.
If I am unhappy with a work, I experiment further—even if it gets spoiled.
Sometimes it transforms into something even more beautiful.
This is the price and the reward of true creativity.
Tags / Keywords :
Finger painting
Nail painting
Bare hand painting
Speed painting techniques
World’s fastest painter
Parijoy Saha art
Abstract art
Experimental art
White glue painting
Texture art
Indian artist
Art innovation
Unusual art techniques
Creative process
Sand art texture
Modern abstract painting
Rapid painting
Novel art techniques
Inspirational art
Spiritual artist
About the Artist
Parijoy Saha is the world’s fastest painter with five artistic world records, known for creating abstract, realistic and landscape paintings in less than one second using only his fingers, nails and palms. His art has been featured in over 40 television channels and 15 newspapers.
Author: Parijoy Saha — World’s Fastest Painter with 5 Artistic World Records
“Parijoy Saha, the world’s fastest painter with five artistic world records, creates unique paintings using only his fingers, nails and palms. His art techniques combine speed, creativity and spiritual discipline. This post explains one of his signature painting innovations.”
Tags / Keywords :
world’s fastest painter
Parijoy Saha painting techniques
fastest painting methods
bare-hand painting styles
fevicol painting technique
Indian world record artist
innovative art methods
speed art demonstration
record-setting paintings
unusual art techniques
fast abstract painting
finger nail painting technique
Related Reading: To explore the spiritual foundations behind creativity and intuition, visit my spiritual teachings blog: https://teachingsofparijoy.blogspot.com
Go through my blog https://teachingsofparijoy.blogspot.com for my teachings. I am a brahmagyani tapasvi, an enlightened guru and spiritual leader.
WRITTEN DESCRIPTION OF THE 11 NOVEL METHODS OF PAINTING USING BARE HANDS WITH EACH METHOD TAKING LESS THAN 30 SECONDS TO COMPLETE A PAINTING IS ADDED BELOW.
Most number of novel and fastest painting techniques demonstrated using bare hands.
Record Contents :- Parijoy Saha, born on February 14, 1974, resident of West Bengal, India, on 12th July, 2013 demonstrated 11 novel methods of painting using bare hands and the total time he painted to complete these 11 paintings was less than half of minute each. All his paintings have been made using fingers, nails and palm. The materials used for the paintings are white glue (fevicol), water colours and 37 cm x 28 cm sized papers. He has not learnt these 11 methods of painting from anyone or anywhere. These are his own ideas. He started inventing these methods in 1995 and finished inventing these 11 methods in 2007.
The links to the 3 youtube videos of me demonstrating 11 novel methods of painting using bare hands with the actual time taken to paint to complete these 11 paintings being less than half a minute each, are as follows :-
The total time I have painted to complete each of these paintings step by step are given below
a) Method Number 1 :- 12 seconds
b) Method Number 2 :- 28 seconds
c) Method Number 3 :- 27 seconds
d) Method Number 4 :- 23 seconds
e) Method Number 5 :- 19 seconds
f) Method Number 6 : -
Step 1 of method Number 6 :- 12 seconds
Step 2 of method Number 6 :- 09 seconds
Total :- 21 seconds
g) Method Number 7 : -
Step 1 of method Number 7 :- 12 seconds
Step 2 of method Number 7 :- 06 seconds
Step 3 of method Number 7 :- 10 seconds
Total :- 28 seconds
h) Method Number 8 : -
Step 1 of method Number 8 :- 12 seconds
Step 2 of method Number 8 :- 08 seconds
Total :- 20 seconds
i) Method Number 9 : -
Step 1 of method Number 9 :- 19 seconds
Step 2 of method Number 9 :- 10 seconds
Total :- 29 seconds
j) Method Number 10 : - 11 seconds
k) Method Number 11 : -
Step 1 of method Number 11 :- 12 seconds
Step 2 of method Number 11 :- 14 seconds
Total :- 26 seconds
DISCRIPTION OF THE 11 METHODS:-
METHOD NUMBER ONE : -
I applied white glue (fevicol) on a sheet of paper ( paper A) of the size 38 cm x 27 cm. Till now no colours had been applied on this sheet of paper. Now I started making the painting.
I put different colours on this sheet of paper ( paper A) using both my hands simultaneously to save time. Now I artistically mixed these colours with my right hand. Next with the fingers and nails of my right hand I made an artistic abstract drawing by simply moving my fingers and nails on the paper creating white lines as the fevicol and colours got removed from the place where I moved my fingers and nails and the white paper was visible in the from of lines. Then I took another sheet also of the size 38 cm x 27 cm ( paper B ) and put it on the original sheet of paper on which I had made the drawing which is ( paper A) and pressed them together. I lifted up the paper B by separating both the paper A and paper B. The colours and white glue (fevicol) from paper A had been transferred to paper B creating an unbelievably beautiful effect. Paper B is the completed painting and is named as painting number 1. The painting has been completed in 12 seconds. You can see how amazing is the effect. One keeps wondering as to how this kind of a painting could be made and that too in such a less time. White lines are over lapping each other and this effect creates a feeling that this painitng has been painstakingly made over a long period of time. One can easily make at least 100 such wonderful paintings in one day using this novel method of mine. I have not learnt this method from anywhere and it is my own method.
I invented a unique method and strategy to achieve my goal. This novel method is is indeed an extra ordinary achievement.
METHOD NUMBER TWO AND THREE :-
I applied fevicol on a sheet of paper of the size 38 cm x 27 cm.. No colours had been applied on the paper yet. Now I started making the painting. I put lemon yellow colour on the paper and spread it on the whole sheet with my right hand. Then I put yellow ochre colour and spread it on the whole sheet. Like this I put layers of red, magenta and mauve colours one after the other. Now the paper had layers of five colours one above the other namely lemon yellow, yellow ochre, red, magenta and mauve respectively.
Now the paper can be folded in different ways, then crushed and made into a ball and opened to get different effects. These paintings are made in 28 seconds and 27 seconds each respectively.
This is a novel method of painting. I have not learnt it from anywhere and this is my own method. Anybody can easily make at least 30 such paintings in one day using this novel method of mine. I have again invented a unique method and strategy to achieve my goal. This novel method is an extraordinary achievement. The effect is extraordinarily wonderful.
METHOD NUMBER FOUR :-
I applied white glue (fevicol) on a sheet of paper of the size 38 cm x 27 cm ( paper C). Till now no colours have been applied on the paper. Now I started making the painting. I put green and blue colours on this sheet of paper and mixed them artistically with my right hand. Now I crushed this paper, made a ball out of it and then opened it up. Next I made an abstract drawing on this crushed paper with the fingers of my right hand by simply moving my fingers on the crushed paper creating white lines as the fevicol and colours got removed from the place where I moved my fingers and the white paper was visible in the form of white lines. Then I put another paper also of the size 38 cm x 27 cm (paper D) on paper C and pressed them together. Now I lifted paper D by separating both paper C and paper D. Colours and white glue got transferred from paper C to paper D. Paper D is the completed painting. The painting was made in 23 seconds. There is a cracked effect on the painting with lines running through each other. The effect is amazing and unbelievable. Several such paintings can be made in one day. This is a novel method of painting. I have hot learnt it from anywhere. I yet again invented a unique method and strategy to achieve my goal. It is an extraordinary achievement .
METHOD NUMBER FIVE :-
The method number five is very similar to method number one except the following : -
You apply fevicol on the paper ( paper E) of the size 38 cm x 27 cm with your hand. Then you put colors on this paper and mix them artistically. Now you make an artistic abstract drawing with your fingers and nails. Now you have to fold the paper ( paper E) into half. Both the halves of the paper stick to each other. Now you have to open it up and place a paper, also of the size 38 cm x 27 cm, paper F, on paper E and press them together. The colors and fevicol gets transferred from paper E to paper F. Next lift paper F by separating paper E and paper F. Paper F is completed painting and is called painting number 5.
As compared to method number one, in method number five the additional thing you do is the folding and opening of paper E before placing paper F on it. This folding gives an interesting texture to the painting ( painting number 5 ) . The total time it takes to make this painting is 19 seconds. This method is a novel method of mine.
In method number 6 to method number 9 more than one coating of fevicol and water colours is required. The first coating has to be dried up and then the next coating is applied and so on.The actual time I have spent painting has been totaled. The time required for drying of each coating of fevicol and water colours has not been added to the time taken to make the painting. The time taken to actually make the painting is less than minute each in each method, method number six to method number nine.
METHOD NUMBER SIX : -
Take a paper of the size 38 cm x 27 cm ( paper G ) and apply fevicol on it with your hand. Put a little ( please note little quantity of white color ) white color and spread it on paper G with your hand. Now draw an abstract drawing with your fingers and nails by moving the fingers and nails on the paper .
Next take a painting ( painting number 1) made by method number one and place it on paper G. Press them together. Lift painting number 1 by separating painting number 1 and paper G. Painting number 1 now has a second coating of translucent white color and is the completed painting. It is now called painting number 6. Synthetic resin adhesive / white glue (fevicol) becomes transparent on drying and since a little white colour is added it becomes translucent. This creates an interesting effect. The total time I have to actually paint to make this painting is 21 seconds. There are two steps and two coatings of fevicol and water colours on this painting. After application of the first coating it is dried up ( painting number 1 made by method number one) and then second coating is applied and the painting is completed ( painting number 6 ) . The application of the two coatings of fevicol and water colour take 12 and 9 seconds each. This method of painting is a novel method of mine.
METHOD NUMBER SEVEN : -
Take a paper of the size 38 cm x 27 cm ( paper H ) and apply fevicol on it with your hand. Now start painting . Apply sufficient quality of white colour and spread it on paper H with your hand.
Next take a painting ( painting number 1) made by method number one and place it on paper H. Press them together with very little pressure. Lift painting number 1 be separating painting number 1 and paper H.
The painting number 1 (made by method number one ) now has white patches on it and is called painting number 7a .
Now take a paper of the size 38 cm x 27 cm (paper I) and apply fevicol on it with your hand. Now put colours on paper I and mix them artistically. Next draw an abstract drawing on paper I with fingers and nails by moving the fingers and nails on the paper I creating white lines .
Place painting number 7a on paper I . Lift painting number 7a by separating painting number 7a and paper I . Painting number 7a now has three coatings of fevicol and water color and is the completed painting.
This method of painting takes 3 steps creating three coatings of fevicol and water color on the paper.
The total time I have to actually paint to make this painting is approximately seconds . There are 3 steps ( 3 coatings ) of painting. The first step (first coating) takes 12 seconds . The second step (second coating) takes 6 seconds and the third step (third coating) takes 10 seconds . This is a novel method of painting
METHOD NUMBER EIGHT:-
Take a paper of the size 38cm x 27cm (paper J) and apply fevicol on it with your hand . Now start painting. Put colors and mix them artistically with your hand. Now draw an artistic abstract drawing with you fingers and hails by moving you fingers and nails on the paper J creating white lines.Now place a painting (painting number 1) made by method number 1 on paper J and press them together . Now lift painting number 1 by separating painting number 1 and paper J.
Painting number 1 now has a second coating of fevicol and water colours and is the completed painting . It has an interesting effect
The total time I have to actually paint to make this painting is 20 seconds . There are two steps (two coatings of fevicol and watercolor). The two steps takes 12 and 08 seconds respectively . This is a novel method of painting .
METHOD NUMBER NINE:-
Take a paper of the size 38 cm x 27 cm (paper K) and apply fevicol on it with your hand . Now start painting . Put a little white color on the paper and spread it on paper K with your hand. Now fold paper K into half . Both the halves stick to each other . Now open up the folded paper K and place a painting (painting number 5) made by method no five , on it. Press them together and lift painting number 5 by separating painting number 5 and paper K. Painting number 5 now has a second coating of translucent white color with an interesting texture and is the completed painting.
The total time I have to actually paint to make the painting is 29 seconds. There are two steps (two coatings of fevicol and water colour). The first step, method number five takes 19 seconds and the second coating takes 10 seconds . This is also a novel method of mine.
METHOD NUMBER TEN :-
Take a paper of the size 38 cm x 27 cm (Paper L) and apply fevicol onit withyou hand. Now start painting. Put colours on paper L and mix them artistically with your hand. Now with the fingers and nails of your right hand make an artistic abstract drawing on paper L by simply movi9ng the fingers and nails on paper L creating white lines. The painting is complete. This is a novel method as fevicol is not mixed with colours before painting and instead a coating of fevicol is applied on the paper first which helps you create the white lines. The total time I actually painted to complete this painting was 11 seconds.
METHOD NUMBER ELEVEN :-
Take a painting ( painting number 1) made by method Number 1. Apply fevicol on it with your hand. Now start painting. Put a little white colour and mix it with the fevicol. Now with the fingers and nails of your right hand make an artistic drawing by simply moving the fingers and nails on the paper revealing the painting below. The white colour is added in less quantity so that it becomes translucent on drying. This is novel method of painting. There are two steps in the painting. Step 1 (making of painting by method number 1 ) takes 12 second and step 2 takes 14 seconds.
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world’s fastest painter
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bare-hand painting styles
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Indian world record artist
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About the Artist
Parijoy Saha is the world’s fastest painter with five artistic world records, known for creating abstract, realistic and landscape paintings in less than one second using only his fingers, nails and palms. His art has been featured in over 40 television channels and 15 newspapers.
By Parijoy Saha – World’s Fastest Painter (Five Artistic World Records)
📌 SEO Summary (Meta Description – ~160 characters)
Discover 11 unique bare-hand painting techniques by Parijoy Saha, the world’s fastest painter, creating record-breaking art in under 30 seconds.
🔎 Quick Overview (For Readers in a Hurry)
Parijoy Saha, the world’s fastest painter with five artistic world records, demonstrates 11 original bare-hand painting techniques, each completed in less than 30 seconds using only fingers, nails, and palms—without brushes or tools.
These techniques use white glue (Fevicol), water colours, and paper, and represent a rare fusion of speed art, innovation, intuition, and spiritual discipline.
🎨 About the Artist
Parijoy Saha (also known as Swami Tapasyananda Puri) is an Indian saint, spiritual teacher, and self-taught artist from West Bengal, India. Despite being a 90% disabled patient of chronic paranoid schizophrenia, he has achieved international recognition for his extraordinary contribution to art.
He holds five artistic world records and is internationally known as the world’s fastest painter.
🏆 World Record Details – 11 Novel Painting Methods
Record Title: Most Novel and Fastest Bare-Hand Painting Techniques Date: 12 July 2013 Location: West Bengal, India
All paintings were created using fingers, nails, and palms only. No brushes or tools were used.
Materials Used:
White glue (Fevicol)
Water colours
Paper (37 cm × 28 cm / 38 cm × 27 cm)
Parijoy Saha began inventing these techniques in 1995 and completed all 11 by 2007. These methods were not learned from any source and are entirely his original innovations.
⏳ Drying time between layers is not included. Only active painting time is counted.
🖌 Detailed Description of the 11 Methods
Method 1 – Transfer Abstract Technique
White glue is applied to paper, colours are spread with both hands, and abstract lines are created using fingers and nails. A second sheet is pressed onto the surface to transfer the image, creating a highly textured abstract painting in 12 seconds.
Method 2 & 3 – Fold and Crush Colour Layers
Multiple colour layers are applied, folded, crushed, and reopened to produce organic abstract textures. Each painting is completed in 28 seconds and 27 seconds respectively.
Method 4 – Cracked Texture Transfer
A glue-coated paper is coloured, crushed, and drawn upon with fingers. The image is transferred onto another sheet, creating dramatic cracked effects in 23 seconds.
Method 5 – Folded Transfer Variation
Similar to Method 1, but includes folding before transfer to create enhanced textures. Completed in 19 seconds.
Method 6 – Translucent Overlay Technique
A second translucent white coating is applied over an earlier painting, creating depth. Completed in 21 seconds across two steps.
Method 7 – Triple-Coating Composite Method
Three layers of glue and colour are applied in stages, resulting in complex textures. Completed in 28 seconds.
Method 8 – Double-Coating Transfer
A second coloured layer is transferred onto an existing painting, creating a rich composite surface in 20 seconds.
Method 9 – Folded Translucent Overlay
A folded white overlay is transferred onto an earlier painting, producing a unique translucent texture in 29 seconds.
Method 10 – Direct Finger-Line Abstract
Glue is applied first, colours are added later, and lines are created directly with fingers and nails. Completed in 11 seconds.
Method 11 – Revealed Underpainting Technique
A translucent white layer is applied over an earlier painting, partially revealing the artwork beneath. Completed in 26 seconds.
🌿 Spiritual Dimension of the Art
The proceeds from Parijoy Saha’s paintings are used to support spiritual teachings and charitable activities. His philosophy teaches that all religions lead to the same truth, like rivers flowing into the same ocean.
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I prayed earnestly and innumerable times to God , to control my thoughts, actions and speech and also to control me forever even after this life. Therefore God controls me even when I paint, God paints real fast and I am just his instrument that He controls.
How spiritual progress improves creativity, intuition, and artistic expression. A unique perspective on art, spirituality, and inner growth.
Spiritual progress enhances creativity, intuition, and art. Discover how surrendering to God transforms the artist into a divine instrument of creation.
Spiritual progress leads to higher creativity and intuition, where the artist becomes an instrument and God paints through the artist.
Explore how spiritual surrender deepens creativity, intuition, and art, allowing God to express creativity through the artist.
Discover how spiritual surrender transforms creativity, allowing God to express art through the artist as a divine instrument.
Explore how spiritual progress enhances creativity, intuition, and art, where the artist becomes an instrument of divine expression.
Spiritual progress leads to intuitive creativity, where art flows naturally as the artist becomes an instrument of God.
Spiritual Progress and Creativity in Art
Spiritual progress plays a powerful role in improving creativity, artistic expression, and intuition. For artists, inner growth directly influences the quality, depth, and originality of art. When the mind becomes calm, focused, and disciplined through spiritual practice, creativity flows naturally.
Creativity in art does not come only from technical skill or practice. True artistic creativity arises from inner clarity, silence, and awareness. Spiritual practices such as meditation, prayer, self-observation, and surrender reduce mental noise, fear, ego, and confusion. As these disturbances decrease, artistic inspiration increases.
A spiritually developed mind strengthens intuition, which is essential for art. Intuition allows an artist to create instantly, without overthinking. In intuitive art, the hand moves faster than logic. This is why many great artists and creative geniuses throughout history were deeply spiritual.
Spiritual growth also improves emotional balance. Art created from a peaceful and balanced inner state carries harmony, depth, and authenticity. Such art connects more strongly with viewers because it reflects truth, sincerity, and inner stability.
As spirituality deepens, creative blocks reduce. Ideas emerge effortlessly, and artistic expression becomes faster, purer, and more confident. This applies to painting, drawing, abstract art, speed art, writing, music, and all creative disciplines.
Spiritual practice also enhances concentration and focus. A focused mind allows precision, speed, and accuracy in artistic creation. This is especially important for intuitive and speed-based art, where hesitation reduces quality.
In essence, spirituality refines the mind, and the mind is the primary tool of every artist. When the mind is refined, creativity naturally improves. Better spiritual awareness leads to stronger intuition, stronger intuition leads to better creativity, and better creativity leads to better art.
For artists, spiritual progress is not separate from creativity—it is its foundation. When inner growth deepens, art becomes a natural expression of higher awareness, intuition, and inner discipline.
God as the True Creator Behind Art
When an artist sincerely prays to God and surrenders completely, a transformation takes place. God gradually becomes the controller, and the artist becomes an instrument. In such a state, thoughts, actions, and creative impulses no longer arise from personal ego or effort, but flow according to divine will.
At this stage, the artist no longer feels like the creator of the art. Instead, art happens through the artist. The hands move intuitively, decisions occur instantly, and creativity flows without conscious planning. The painter does not paint; God paints through the painter.
This divine surrender enhances intuition, speed, and precision in art. Fear, doubt, and hesitation disappear, and creativity becomes effortless. The mind becomes silent, receptive, and aligned with higher guidance. Art created in this state carries depth, purity, and a spiritual vibration that connects deeply with viewers.
When an artist becomes an instrument of God, creativity reaches its highest potential. Art is no longer an act of personal achievement but a divine expression. This is where spiritual progress and artistic excellence merge, and creativity becomes a sacred process rather than a mental effort.
On 10th December 2015, Parijoy Saha achieved three historic milestones by creating the world’s fastest realistic painting in a 1/5th fraction of a second, the world’s fastest abstract painting in a 1/5th fraction of a second, and the world’s fastest landscape painting in a 1/6th fraction of a second on 38 cm × 32 cm sized papers, using only bare hands. Earlier, on 12th July 2013, he demonstrated 11 novel methods of painting with bare hands, with each method taking less than 30 seconds to complete a painting on 37 cm × 28 cm sized papers. On 11th December 2011, he further created 51 paintings in just 35 minutes using bare hands on 37 cm × 28 cm sized papers. All these paintings were made using white glue, watercolors, and ivory paper.
According to Parijoy Saha, the techniques, ideas, and timing behind these record-breaking achievements were not planned intellectually but arose spontaneously through spiritual intuition. He believes that spiritual progress sharpens intuition to such an extent that creativity flows instantly, without conscious effort. In such a state, the mind does not struggle to think or decide; actions happen naturally and effortlessly.
Through sustained spiritual practice, prayer, and surrender to God, the sense of personal doership gradually diminishes. The artist no longer feels that “I am creating,” but instead experiences creation as happening through him. In this state, the artist becomes an instrument, and creativity becomes an expression of divine will rather than personal effort. According to this understanding, God becomes the controller, and the artist becomes a medium through which ideas, speed, and execution flow.
Parijoy Saha attributes his unprecedented speed, originality, and intuitive precision in art to this spiritual advancement. He believes that when creativity is guided by higher awareness, limitations of time, fear, and doubt dissolve. Art then becomes a form of surrender rather than struggle.
The methods of painting through which I set my world records were not intellectual inventions of my own mind. They were ideas given by God. It is God who made me the world’s fastest painter. The credit for these achievements belongs entirely to God and not to me. While painting, I could clearly perceive that everything was happening automatically by God’s grace, as if God Himself was controlling my hands, my thoughts, and my actions.
My spiritual journey began over thirty-three years ago, when I first prayed to become worthy of being God’s beloved child. Later, for the past twenty-five years, my prayer has taken a deeper and more complete form. I have been continuously praying to surrender myself entirely to God—so that I may think, speak, and act exactly according to God’s will. I have prayed to be an instrument in God’s hands rather than an independent doer.
As this surrender deepened, creativity began to flow effortlessly. I no longer felt that I was the artist; instead, it felt as though God was painting through me. My hands moved with speed, clarity, and precision beyond conscious planning. The paintings emerged spontaneously, guided by intuition rather than technique. This state of surrender transformed art into a spiritual experience, where creativity became an expression of divine grace rather than personal skill.
True artistic excellence is not achieved merely through practice or technique alone. To become a truly inspired artist, one must first surrender to God. When the ego dissolves, creativity expands. When the artist steps aside, divine intelligence begins to operate. This surrender opens the door to higher intuition, originality, and effortless creation.
For those who wish to understand the spiritual foundation behind creativity, intuition, and surrender to God, I invite you to explore my spiritual teachings blog: https://teachingsofparijoy.blogspot.com
When an artist prays to be controlled by God, creativity rises beyond technique and speed. The artist dissolves, and God becomes the true creator. In such moments, art is no longer made—it happens.
Spiritual Progress as the Foundation of Creativity in Art
Creativity in art does not arise only from technical skill, practice, or imagination. True creativity arises when the mind becomes silent, receptive, and aligned with a higher intelligence. From my own life and artistic journey, I have experienced that spiritual progress directly enhances creativity, intuition, speed, originality, and artistic clarity.
Art created from the ego is limited. Art created from surrender is limitless.
Spiritual Progress and the Artist’s Inner State
When an artist progresses spiritually, the mind gradually becomes free from fear, doubt, comparison, and overthinking. These mental disturbances are the biggest obstacles to creativity. As spiritual awareness increases, the artist begins to work from a state of inner stillness.
In this state:
ideas arise spontaneously
decisions become effortless
movements become natural
time appears to slow down or disappear
This is not imagination. This is direct experience.
God as the Source of Creative Ideas
The methods of painting I used to set my world records were not intellectual inventions. They were ideas given by God. I clearly witnessed how everything happened automatically by God’s grace, as if God Himself was controlling my hands.
It is God who made me the world’s fastest painter.
The credit goes to God and not to me.
I did not feel that I was painting. Rather, I felt that God was painting through me, and I was only an instrument.
Prayer, Surrender, and Divine Control
Initially, around 33 years ago, I prayed only to become worthy of being God’s loved son. Later, for the past 25 years, my prayer has been continuous and focused on one thing alone:
To be according to the desire of God —
that I may think, speak, and act exactly as God wants me to.
I have been praying continuously to be controlled by God. When this surrender deepens, personal will dissolves, and divine will begins to operate. At that stage, creativity no longer comes from effort. It flows.
How Surrender Transforms Art
When an artist truly surrenders:
fear of failure disappears
attachment to results ends
originality becomes natural
speed increases effortlessly
intuition replaces planning
At this stage, the artist no longer tries to create art. Art happens.
This is why spiritual progress does not limit creativity — it liberates it.
Why Spiritual Discipline Matters More Than Technique
Techniques can be learned. Brushes, colors, and materials can be acquired. But intuition cannot be manufactured. Intuition arises only when the ego steps aside.
Spiritual discipline purifies perception. As perception becomes pure, creativity becomes refined, original, and powerful. This is the foundation behind my ability to paint in fractions of a second using bare hands.
The Artist as God’s Instrument
When you pray to God to control you, God becomes your controller, and you become His instrument. You end up thinking, speaking, and doing everything according to God’s will.
In art, this means:
you are no longer the doer
the painting is not forced
creativity flows naturally
the result carries divine harmony
At this stage, the artist disappears, and only creation remains.
Final Reflection
To become a truly creative artist, one must first become spiritually receptive. And to become spiritually receptive, one must learn surrender.
Spiritual progress leads to:
better creativity
deeper intuition
effortless originality
faster execution
art infused with higher intelligence
This is not theory. This is lived experience.
For those who wish to understand the spiritual foundations behind creativity, surrender, and intuition, my spiritual teachings are documented separately in my teachings blog.
Those who wish to understand the spiritual foundation behind this creative process and explore the path of spiritual advancement are encouraged to visit his teachings blog: https://teachingsofparijoy.blogspot.com
Intuition vs Technique in Speed Art
In the world of art, most artists are trained to depend heavily on technique. Technique involves learning brush control, colour theory, composition, perspective, and repetition through practice. While technique has its place, speed art—especially extreme speed art—operates on a completely different plane.
In speed art, intuition plays a far more important role than technique.
The Limitation of Technique in Speed Art
Technique requires time. It requires conscious thought, planning, correction, and refinement.
When a painting is created in a few seconds, there is no time to consciously apply learned techniques. The mind does not get the opportunity to calculate proportions or correct mistakes. If an artist tries to depend only on technique while painting at extreme speed, hesitation arises, and the flow breaks.
This is why technique alone cannot produce true speed art.
Intuition as the Real Driving Force
Intuition works instantly. It does not calculate—it knows.
In intuitive painting, the hand moves before the mind interferes. Colours are chosen instinctively. Forms appear naturally. The artist does not think about what to do next; the action happens automatically.
This intuitive flow is what makes speed art possible.
In my own journey as the world’s fastest painter, I clearly observed that during record-setting performances, I was not consciously deciding anything. My fingers, nails, and palms moved on their own, as if guided by a higher intelligence.
Where Does This Intuition Come From?
True intuition is not merely a talent. It is the result of inner silence.
When the ego reduces and the mind becomes quiet, intuition rises naturally. This inner quietness cannot be forced by technique—it comes through spiritual discipline, surrender, and prayer.
As spiritual progress deepens, the artist stops “doing” art and instead allows art to happen through him.
Speed Art as a Spiritual Process
Speed art is not just fast painting. It is surrender in action.
When the artist surrenders completely, there is no fear of mistakes, no attachment to outcome, and no self-consciousness. In this state, creativity flows freely and effortlessly.
This is why many of my fastest and most innovative painting methods emerged spontaneously. The ideas did not come from planning or experimentation. They arose intuitively, in moments when I was deeply surrendered to God.
Intuition vs Technique: Not Opposites, but Levels
Technique belongs to the outer level of art. Intuition belongs to the inner level of art.
Technique can be taught. Intuition must be awakened.
For ordinary painting, technique may dominate. But for speed art—especially painting done in seconds—intuition must lead, and technique must follow silently in the background.
Spiritual Growth Enhances Artistic Intuition
As spiritual awareness increases:
intuition becomes sharper
decision-making becomes effortless
fear disappears
creativity becomes spontaneous
speed increases naturally
At this stage, the artist no longer feels like the creator. He becomes an instrument.
Becoming an Instrument of the Divine
When an artist prays to be guided, controlled, and used by God, art transforms into a divine expression. The painting is no longer an act of personal skill but an act of grace.
This is the highest form of speed art—where intuition flows unhindered, technique obeys silently, and creativity happens without effort.
Final Thought
Technique can make an artist skilled. Intuition can make an artist extraordinary.
Speed art is not about how fast the hands move—it is about how silent the mind is.
For those who wish to understand the spiritual foundations behind intuition, creativity, and surrender, my spiritual teachings are shared separately.
In true creativity, art does not begin with noise. It begins with silence.
Silence is not merely the absence of sound; it is the absence of inner disturbance. When thoughts slow down and the ego recedes, a deeper intelligence starts operating. In this state, speed is no longer chaotic. Speed becomes effortless, precise, and meaningful. This is what I call divine flow in art.
In my experience as the world’s fastest painter, silence, speed, and divine flow are not separate elements. They are three stages of the same spiritual process.
When ever I start speed painting I let myself to be controlled by God and the art is created in mental silence. Even otherwise whenever I think that all is God's will and that I have prayed to be in God's control, worry disappears and there is silence.
When I paint, my hands move freely as if guided by intuition, my mind doesnot work or plan, everything happens on its own and a gift of painting from God is created.
Silence: The Foundation of True Creativity
Most artists try to create through effort, planning, and mental control. But the mind is restless by nature. When the mind dominates, art becomes forced.
Silence arises only through surrender.
When an artist surrenders to God, the inner chatter gradually dissolves. In that silence:
Fear disappears
Doubt disappears
The need to impress disappears
What remains is purity of action.
In silence, the artist no longer asks, “What should I paint?” Instead, painting begins to happen on its own.
Speed as a Spiritual Outcome, Not a Skill
Speed in art is often misunderstood as a technical achievement. In reality, true speed is a byproduct of inner stillness.
When the mind is silent:
Decisions are instant
Movements are spontaneous
There is no hesitation
This is how extreme speed becomes possible without loss of quality.
My record-setting paintings were not created by conscious planning. They happened automatically. My hands moved faster than thought. I could clearly see that I was not controlling the process—something higher was.
Speed emerged naturally because there was no resistance inside.
Divine Flow: When God Becomes the Artist
Divine flow begins when the artist stops claiming ownership.
At a certain stage of spiritual surrender, one realizes:
“I am not the doer.”
When this realization becomes permanent, God starts working through the artist.
In that state:
Thoughts arise exactly when needed
Hands move with perfect coordination
Creativity unfolds without effort
The artist becomes an instrument.
In my own journey, the methods of painting that led to world records were not learned, practiced, or planned. They were ideas given by God. I could see everything unfolding automatically, as if I was being guided moment by moment.
Silence Creates Accuracy, Speed Creates Power
Silence brings clarity.
Speed brings intensity.
Divine flow unites both.
This is why spiritual art can achieve results that technical training alone cannot. When silence and speed merge, art gains a living energy that viewers can feel instantly.
People often ask how paintings made in seconds can carry such depth. The answer is simple: depth does not come from time; it comes from consciousness.
Why Technique Alone Is Not Enough
Technique belongs to the mind.
Divine flow belongs to surrender.
Technique can be taught. Divine flow must be received.
Without silence, technique becomes mechanical. Without surrender, speed becomes empty. But when God controls the process, even the simplest movements produce extraordinary results.
The Path for Artists
For artists who wish to experience this state, the path is not external.
It begins with:
Prayer
Surrender
Inner purification
When the artist prays to be guided rather than glorified, creativity transforms into devotion.
Art then becomes a form of worship.
Conclusion: Art as a State of Grace
Silence prepares the ground.
Speed becomes the expression.
Divine flow is the source.
When these three unite, art transcends skill and becomes grace.
In such moments, the artist disappears—and God paints.
Why God Chooses Speed for Expression and Art Beyond Ego
When God expresses through an artist, speed is not an accident.
Speed is chosen deliberately, because speed leaves no space for ego.
Ego survives in delay.
Ego needs time to interfere, to judge, to plan, to claim credit.
Speed removes all of that.
When art happens at great speed, the thinking mind cannot keep up. The artist does not get the time to say “I am doing this.” What remains is pure action without ownership.
This is why divine expression often chooses speed.
Speed Bypasses the Thinking Mind
The human mind operates slowly. It calculates, compares, doubts, and corrects. These processes are useful for learning technique, but they block divine flow.
God does not operate through analysis.
God operates through direct knowing.
When speed increases beyond the capacity of thought:
planning disappears
fear disappears
self-consciousness disappears
The hand moves before the mind can interfere.
In this state, art does not come from the artist — it comes through the artist.
When a painting is completed in seconds, the artist himself is surprised. There is no time to build pride. The result feels given, not manufactured.
This is why true speed creates humility instead of arrogance.
The faster the action, the clearer it becomes that the doer is not the individual.
Divine Expression Is Instantaneous
God does not need rehearsal.
God does not need correction.
God does not experiment.
Divine intelligence is complete the moment it expresses.
Speed reflects this completeness.
When art flows instantly, without hesitation, it mirrors the nature of divine creation itself — effortless, precise, and whole.
This is why divine creativity often appears sudden, spontaneous, and astonishing.
Why Slow Ego Cannot Imitate Divine Speed
Ego can imitate technique.
Ego cannot imitate surrender.
An ego-driven artist may try to paint fast, but without inner silence, speed becomes chaos. Divine speed is not rushed. It is calm, accurate, and inevitable.
The difference is simple:
ego speed is forced
divine speed is natural
One exhausts the artist.
The other carries the artist.
Speed as Proof of Surrender
When God controls the artist, speed becomes a sign of trust.
There is no second-guessing.
There is no self-correction.
There is no attachment to outcome.
The artist allows life to move through him completely.
In my own journey, I could clearly see that the methods, movements, and timing were not being decided by me. Everything unfolded automatically, as if guided step by step. The faster the action became, the more obvious it was that I was not in control.
That realization itself dissolves ego.
Art Beyond Ego Is Always Immediate
Ego art asks:
“Is this good enough?”
Divine art simply happens.
When art moves beyond ego, it becomes immediate because there is no inner debate. There is only obedience to the moment.
Speed is not the goal.
Speed is the result of obedience.
Conclusion: Speed Is God’s Signature
God chooses speed because speed leaves no room for false identity.
In speed:
the ego cannot claim authorship
the mind cannot interfere
the artist cannot boast
Only truth remains.
When speed, silence, and surrender unite, art crosses the boundary of skill and enters the realm of grace.
In such moments, the artist does not create art.
God expresses Himself.
Why Slowness Belongs to Learning and Speed Belongs to Surrender
In art, slowness and speed are often misunderstood. Many believe that speed comes from practice alone and that slowness is a sign of depth. In reality, slowness belongs to learning, while true speed belongs to surrender.
When an artist is learning, the mind is active. One thinks, plans, corrects, hesitates, and evaluates. Every movement is controlled by effort. This stage requires time, repetition, and patience. Slowness is necessary here because the ego is still present—the artist is trying to do something.
But when learning is complete and surrender begins, something changes.
Speed is not effort. Speed is absence of interference.
When the mind becomes silent and the ego steps aside, action flows naturally. In this state, art does not come from calculation or technique. It arises spontaneously. The hands move before thought. The painting completes itself. The artist becomes only a medium.
This is why speed in art is not a technical achievement alone. It is a spiritual state.
In my own journey, the methods of painting that led to world records did not arise from deliberate planning. They came automatically, as if given. I could see how everything happened on its own, without conscious control. It felt as though God Himself was guiding my hands.
Slowness belongs to effort.
Speed belongs to surrender.
When one surrenders to God, one no longer decides what to paint, how to paint, or how fast to paint. One only allows. In that allowance, speed happens naturally. There is no hesitation, no correction, no fear of mistakes—because there is no “doer” left.
Speed, in this sense, is beyond ego.
Ego wants recognition, perfection, and control. Ego slows things down. It doubts. It interferes. It corrects. But surrender removes the ego entirely. When the ego disappears, action becomes immediate and precise.
This is why divine expression is often fast.
Nature itself moves with effortless speed—light, growth, transformation—all without hesitation. When art aligns with the same principle, it flows in the same way.
Slowness teaches.
Speed reveals.
An artist may learn slowly, but when surrender happens, creation becomes instant. At that point, the artist is no longer creating art—art is happening through the artist.
To understand this deeper dimension of surrender, spiritual discipline is essential. Creativity and intuition do not grow only through technique; they grow through inner silence, devotion, and alignment with the divine will.
This series explores how creativity moves beyond ego when the artist surrenders. These reflections arise directly from my lived experience as a speed painter and from the inner spiritual process behind the work.
Why God Chooses Speed for Expression Beyond Ego
Speed, in divine expression, is not haste. It is not rushing, proving, or showing off. Speed is what remains when the ego has no time to interfere.
The ego needs time. It plans, judges, hesitates, compares, corrects, and seeks approval. All of these movements slow creation. God does not function through such fragmentation. Divine expression is whole, immediate, and complete.
When speed arises naturally in art, it is a sign that the personal self has stepped aside. The hand moves before thought. Decisions are not made—they appear. There is no internal dialogue asking whether the stroke is right or wrong. The painting happens as a single flow.
In my own experience of speed painting, record-breaking speed never came from ambition. It came when the desire to control vanished. The faster the work became, the less I felt present as a doer. Speed was not something I achieved; it was something that overtook me.
God chooses speed because ego cannot survive there. Speed leaves no gap for pride, fear, or doubt. It demands surrender. What remains is obedience to an inner command that does not explain itself.
When God paints through the artist, speed becomes silence.
Why Slowness Belongs to Learning and Speed Belongs to Surrender
Slowness has a sacred place—but that place is learning.
When we learn technique, discipline, and control, slowness is necessary. The body needs time to understand form, balance, proportion, and movement. Mistakes are corrected slowly. Awareness is divided. The mind participates actively.
But surrender is different.
Surrender is not gradual. It is instant. Either the self interferes, or it does not. When surrender happens, speed appears without effort. The hand already knows what to do because learning has dissolved into being.
Speed does not belong to practice. It belongs to trust.
When learning is complete, slowness naturally drops away. If slowness continues beyond learning, it often indicates fear—fear of making mistakes, fear of losing control, fear of disappearing.
Speed arises when the artist stops protecting the self. The moment effort ends, creation accelerates.
Slowness perfects the hand; speed reveals the soul.
Speed Art and the Disappearance of the Artist
To an audience, speed art looks dramatic. To the artist, it feels empty.
In true speed art, there is no sense of performance. There is no awareness of time passing. Often, there is not even a clear memory of the strokes made. The body moves, but the mind does not comment.
This is the disappearance of the artist.
The ego usually claims authorship: I created this. In speed, that claim collapses. The artwork arrives as if it already existed and merely passed through the hands.
The faster the process, the less personal it feels. Pride cannot keep up. Fear cannot catch hold. Identity dissolves into movement.
Speed is not evidence of skill alone. It is evidence of absence—absence of self-consciousness, absence of ownership, absence of resistance.
The fastest art is created when no one is there to create it.
Intuition vs Technique — When Skill Steps Aside
Technique is learned. Intuition is revealed.
Technique trains the body. It gives structure, control, and reliability. Without technique, intuition cannot express itself clearly. But technique alone is not creation—it is preparation.
Intuition does not ask how. It already knows.
When speed enters art, intuition has taken command. Technique steps into the background and obeys. The artist is no longer choosing strokes; strokes are choosing themselves.
Overthinking slows creation. Analysis fragments the flow. Intuition operates as a single movement, not a sequence of decisions.
Mastery is not control. Mastery is availability.
Technique asks questions. Intuition answers without speaking.
Silence, Speed, and the Divine Flow in Art
Speed is born from silence.
When the mind is noisy, creation hesitates. Thoughts interrupt movement. Doubt inserts pauses. Evaluation breaks rhythm.
Inner silence removes resistance.
In silence, there is no argument with what arises. Action happens as a continuous stream. Speed is not forced—it is the natural state of an unobstructed flow.
Divine intelligence does not move slowly. It moves completely. What appears as speed to the observer is simply wholeness expressing itself without delay.
The quieter the mind, the fewer obstacles remain. And when nothing blocks the flow, time becomes irrelevant.
When the mind is silent, creation does not need time.
Why Speed Cannot Be Practiced, Only Allowed
Speed cannot be practiced in its true sense.
One can practice technique. One can train coordination. One can reduce unnecessary movement. But speed itself is not manufactured.
The moment one tries to be fast, tension appears. Tension creates friction. Friction slows everything.
Speed arrives only when effort ends.
It comes as a permission, not an achievement. The body relaxes into movement. Trust replaces control. The artist allows the process to happen rather than managing it.
Grace moves faster than discipline ever can.
Speed is not achieved. It is permitted.
Art Beyond Ambition — Creation Without Desire
Ambition keeps the ego active.
When art is driven by success, recognition, or comparison, the self remains at the center. Desire constantly checks results, measures progress, and adjusts behavior. This monitoring slows creation and burdens it with expectation.
Devotion is different.
When art becomes an offering rather than a pursuit, desire loosens its grip. The outcome no longer matters. What matters is faithfulness to the moment.
In devotion, speed emerges naturally because nothing is being protected. Failure and success are equally irrelevant. The artist becomes transparent.
At this point, art is no longer a product. It is prayer.
When art is no longer about success, it becomes divine.
This series continues the exploration begun in my post “Spiritual Progress and Creativity,” where art is understood not as self-expression, but as surrender to a higher movement.
