By Selma Carvalho
Issue no 25
At the heart of the controversy lies Teha’amana, his muse, barely thirteen (or was she eleven) when forty-three-year-old Gauguin, by arrangement with her Foster Mother, took her as his ‘bride.’ Could Teha’amana give her consent in such an arrangement? And if we assume some diluted and distorted form of consent, did she have any agency in this action?
By Jugneeta Suda
Issue no 24
Artist Julio D’ Souza has rendered the Last Supper many times in the last 13 years. When I talked to him he said, “Irrespective of how many I have painted, when I set out to paint again, for me, it’s One Last Supper” Every-time. Without exception. The magnetic pull is the metaphor in the painting, a family/community coming together to partake of a meal at the dining table. A masterpiece embedding the dance of ‘Light & Shadow’, the polarities are palpable.
By Selma Carvalho
Issue no 21
In the end, F. N. Souza belongs to Goans. Apart from the Tate Gallery, London, displaying one of Souza’s most emblematic works, the ‘Crucifixion,’ and Grosvenor Gallery having the occasional retrospective, F. N Souza elicits little recognition. There are no biographies paying tribute to the artist, no English heritage plaques commemorating the places he lived in, nor are there regular references made to his work in that definitive art reviewer, the TLS; he does not seep into the British consciousness the way his contemporary Francis Bacon does or even the less distinguished and one-time boarder at Souza’s house, Keith Vaughan does.
By Jugneeta Sudan
Issue no 19
National award winning artist Vitesh Naik, who began from humble beginnings in Jan 1974, has been awarded the 2021-22 Pollock–Krasner Foundation grant. Considering his passion and perseverance, the outcome has been most satisfying. It began with a sketch of his teacher in history class for which he was suspended for 3 months.
By Vishvesh Kandolkar
Issue no. 14
What if I do not try to understand myself? I think this is easy to answer. But what if I want to understand myself? This quest is much more difficult. To do so one has to recollect memories from day one, when we were born. Every day a narrative could be changed, because we as humans are smart with language to convince and exaggerate our points of view, as we increase our experiences with language and knowledge.
By Jugneeta Sudan
Issue no. 13
My chat series with him has been slotted between his scheduled work on two huge abstract works. In his red aachakan embellished with golden thread work and matching pyjamas he looks sharp, his silvery white beard and moustache offsetting his profile aglow with the sunrays filtering in through the open window.
By Jugneeta Sudan
Issue no. 12
‘There is war, there is peace, and then there is ambiguous truth.’..Ashwin Kumar, filmmaker and part-resident at Sangolda, Goa, recently completed his trilogy on Kashmir. His third film No Fathers in Kashmir, which was released on 5th April, mirrors human stories of militants, uniformed men, politicians and the commoner with their multiple truths .
By Savia Viegas
Issue no. 12
Back in the car, Yessonda reminisced about her father Angelo da Fonseca. A Gandhi cap, block-printed shirts and kolhapuris were his signature clothing. The bicycle was his only mode of transport. She followed him in all that he did during the day: shopped for vegetables, fish, cooked, dug around their little garden and painted.
By Jugneeta Sudan
Issue no. 11
Konknnichea molleant, the artwork by Loretti Pinto, is a significant and powerful metaphor for how weaving transforms conflicting ideas in our minds. The Aztec philosophy calls weaving a cathartic activity, and elaborates that weaving begins with fibre-dried grass stalks, bunched together into two groups, warp and weft.
In conversation with Selma Carvalho
Issue no. 9
I was inspired by the work of most Japanese designers. It’s exceptionally tough to take a fabric devoid of any embellishment or print and make it look stunning purely by its construction. That’s the challenge that’s inspiring and worth every minute spent in the design realm.
By Jugneeta Sudan
Issue no. 8
Quixotically Vamona read chivalrous texts passionately and then implemented the ethos into his existence. Regrettably, reality had moved away and become inequitable, random and prejudiced. It did not share his faith in codes of chivalry. Every time he was subjected to physical abuse and psychic tortures, he drew courage from his readings …
Featuring artist TextaQueen
Issue no. 7
I was drawn to Texta’s sensitive criticality and political awareness, because we have both attempted to explore in our diverse fields what it means to occupy a “position of disquiet” as migrants in white settler-nations formed on the dispossession of Indigenous people. In New Zealand, my mother formed the Goan Overseas Association (GOANZ) ...
