By Charlotte Martinez/Photos by Natalie Abel   From the wall paintings on St. Francis’s auditorium in downtown Santa Fe, an image of the catholic saint gazes with pastel eyes at the scene forming in the front of his pews. Three robed members of the Tahoma One Drop Zen Monastery from Whidbey Island are seated on the stage, peering indifferently at the audience as they file in. A fourth member stands, monitoring a pile of blank canvases and a bowl of black ink on the stage floor. Positioned in front of these tools is at camera that projects the image on a large screen. This, no doubt, is for the convenience of those audience members who just hate when they can’t see. Japanese Master Shodo Harada Roshi stands on Francis’s stage with his hands clasped against his long black robe. He, like the others, looks serene and statuesque in what I can only label as a zen zone, but looking at the wise wrinkles and slick head I can’t help but calculate the master’s age. If he was born in 1940, his face is that of a 73-year-old, but even this doesn’t seem right. His face is too shaped and his posture too perfect; could this be a side effect of a disciplined life? If I feel like shaking his hand to obtain wisdom, is that too “western” of me? His interpreter and facilitator, Daichi-Priscilla Storandt, sits next him with a kind-looking grin which contrasts the Roshi’s stoic one. If balance is essential in Buddhism, then the coupling is just short of perfect. Books on the Roshi’s calligraphy works are for sale in front and I wonder if St. Francis objects to this display. The Roshi perhaps feels this too, and despite his title, practice...