Goa Art—Fantasy Boat and other journeys
It was in 1510 that the Portuguese armada invaded and occupied
It was a much longer period of Portuguese occupation—451 years to be exact! Such long time forced presence brought about influences on religion, cuisine, music, dance, language, architecture, art, crafts, festivals, rituals.
The present day
Art affects life and life influences art. Tripat Kalra of Gallery Nvya
There are 19 artists in the exhibition. Their works range from paintings to photography, pen and ink drawings, etchings and sculptures. It is good to have such a variety of medium in the exhibition. What is remarkable in the exhibition held at Stainless Gallery Delhi is the predominance of Surrealism/fantasy. Of all the artists 8 have worked variants of fantasy in a highly individualised language. But the selected artworks seem to suggest that no artist from
Chaitali Morajkar and Querozito de Souza are two artists who view Prakriti with deep erotic feminine sensibility. Chaitali works are highly sensual and use subtle symbolism of body kissing orb (sun?), needle, and fishes transformed into humans. The element of the feminine softness shines in rendition of the curvilinear female figures and decorative motifs like flowers and arabesque.
Querozito de Souza uses a more simplified direct meshing of the body in the infinity of Nature or space. He uses a style akin to etchings to create his human (female) figures. The figures as metaphor of Nature dominate the pictorial space. He also regales in the poetic sensuality of Nature seen as feminine.
When I confronted Rajan Fulari’s works in the exhibition it evoked a literary universe of Sense and Sensibility by Jane Austen—the 19th century British novelist. Fulari born in Bardez did B.F.A. form Goa College of Art and his Master’s degree in printmaking from M.S. University Baroda. Presently living and working in
Antonio E Costa brings a dash of primitivism as against rational-logical elements in visual creativity. His free innocuous dabs of free floating colours (water colour?) eke out primitive simple forms. His painting titled—Housing around in Goa—I think a typographical mistake has crept in. It could be Horsing around in
Rajeshree Thakkar uses the ploy of figure repetition more like moving film frames and her work appropriately is titled Stencil Birth. Figure repetition started with Egyptian art and it helps to create a rhythm and highlights the form. Vitesh N Naik follows European realism in style. Similarly his themes like the Last Supper and card players owe them to –Christianity and
Sonia R. Sabharwal presently seems to seek inspiration in Tantric art and decorativeness. But I am more impressed by her earlier works depicting Goan women and life. Even her animals have an eerie primeval power. Yolanda de Sousa plays more with surface, texture and relief giving out neon like effect. Her figures lonely or in reverie carry cutting humour and symbolism e.g. from the eye of surrealistically rendered face a swastika hangs by a chain or a human figure with fan like blinker on eye has an earring with pierced fishes hanging down. She makes effective use calligraphic style to evoke mysterious unknown.
Many of the artists in the exhibition combine painting and print making since they trained in both the media and have used it to aesthetic advantage and expression. In the end I would like to share my personal relation with
My maternal grandmother Dr. Subhadra Anagarika (nee Prem Dasi) was part a group of freedom fighters who arrived in Goa from
Victor Vijay Kumar
Painter, Assemblage artist