Unravelling Stories by Lina Vincent

U N R AV E L L I N G ST O R I E S

CURATION AND TEXT

LINA VINCENT SUNISH CATALOGUE DESIGN

VRITTI HARISH KOTIAN

U N R AV E L L I N G ST O R I E S INDIA FOUNDATION FOR THE ARTS (IFA) IN COLLABORATION WITH GOA CHITRA

& FROM THE GOA CHITRA MUSEUM COLLECTION YOLANDA DE SOUSA KAMMERMEIER | LORETTI J. PINTO | MEKHLLA HARRISON | ANJUM CHATURVEDI | EKATERINA ABRAMOVA

WITH DOCUMENTATION OF WORKSHOPS BY RHEA D’SOUZA | ARUNDHATI CHATTOPADHYAYA

CURATED BY

LINA VINCENT SUNISH

AT CARPE DIEM ART AND LEARNING CENTRE

Curator’s Note

U N R AV E L L I N G ST O R I E S : The Goa Chitra Experience A museum is a space that holds material remnants of history, and also layers of intangible, oral history that surrounds the physical aspects. Each object tells stories, and becomes a receptacle of memory and human interaction. A few of these stories have been translated and communicated by artists, presented through different mediums and artistic perspectives. The artists in this compilation have all spent time in the Goa Chitra museums, and internalized as well as researched different themes. Each individual has responded from a personal standpoint, sifting through the vast variety of ethnographic material in the collection to select items that spoke to them the most. Several common threads of expression flow through the exhibition: an exploration of personal memory, childhood experiences and ancestral belongings is apparent as an entry point into a number of the works. Another salient feature across the show is a commentary on the loss of heritage – in terms of architectural and built heritage, indigenous professions and crafts, folk culture as well as oral histories. Goa is a state that has transformed over the last two decades; in the face of large-scale migration, urbanization, and mechanized development, it has faced a slow destruction of biodiversity, loss of collective traditions and community practices. A museum like Goa Chitra, which documents and conserves living and disappearing histories is crucial to our times. As a third stream, some of the artists have experimented with imaginary trajectories of thought, delving into alternate explorations of time and space, and using symbolism and metaphor to produce unique interpretations for the objects. In unravelling multiple stories, the artists and the curator together attempt to draw attention to Goan identity: the land, her peoples and a sense of belonging that comes from learning to love her history and culture.

-L i n a V i n c e n t 2

The Daily Grind Pencil and Watercolor on paper 7.5” X 7.5” 2019

Freshly ground Pencil and Watercolor on paper 7.5” X 7.5” 2019 3

K A U S A LY A G A D E K A R Of all the antiquities at the Goa Chitra Museum, the two that I instantly connected with were the Grinding stone or ‘Goan Rogdo’ and the handmill or the ‘Daanthe’. Born in a typical Goan joint family I grew up seeing women in my house using the Rogdo and the Daanthe grinding their lives out. This was one of the activities women in olden days performed as a part of their inescapable daily chores. It was handed over to them from the time they got married in the household to continue till the time their bodies would support it. I see a deep connection of this grinding activity of women of the olden days to their sexual lives and responsibilities towards their husbands. It is fresh and spicy when it’s new and as times passes it turns into an inescapable ‘Daily Grind’. Kausalya Gadekar graduated from Goa College of Art in 2005 (Painting). She has participated in several group shows and workshops since 2007. She works in water colours, graphite and Gouache on paper as her medium of painting. Her recent group shows include, ‘Panjim 175’ at the Serendipity Art Festival 2018, ‘Now you see it! The Invisible River of Konkani Surrealism’, at the Serendipity Arts Festival 2017; ‘She’ at The Cube Art Gallery, Moira, 2017; ‘Beads in a Thread’ at Gallery Sala De Kala, Casa Menezes, Batim, 2017. She has also been a part of a group show for ‘ Goenchi Mati Movement’, at Museum of Goa, 2016; Print Making Camp and exhibition, ‘Look at this Land’, Goa Sunaparanta Centre for the Arts, 2012. She is a recipient of the Prafulla Dahanukar Art Foundation Merit Award, at Kalanand Art Contest 2017.

Reminiscent 28” x 18.5” W&N Watercolours on Fabriano 640gsm paper 2018 Beautiful Chaos 28” x 18.5” (inches) W&N Watercolours on Fabriano 640gsm paper 2019

J O H N A . P E R E I RA Goan culture plays a key role in my work. I believe culture is the backbone of every civilization – if that collapses, everything else goes down with it. For me, it’s often a race against time, a kind of documentation in paints to gather fragments of the beautiful Goa that was once known to be. The ‘Goa’ of my childhood seems way too different from what it is now; I do my best and hope my works will have something to contribute for the future generations to come. I use colours to set a certain mood for the paintings… It’s more like I’m painting feelings of nostalgia. (as told to Karsten Miranda/Herald Goa) John A. Pereira was born in 1982. He graduated from Goa College of Art in 2003 specializing in Murals and Portraiture. With an artistic career spanning more than fifteen years, he has been exhibiting his work regularly in Goa. Working primarily in water colours, his works depict the nostalgic Goan heritage architecture and natural landscapes, iconic monuments and places, people and lifestyle in Goa. He attempts to capture the essence of the place and the people in his works, as Goan culture is close to his heart. Apart from water colour paintings, he also paints portraits in acrylics, and other mediums along with commissioned projects.

Untitled series 14” x 9.5” each panel (8) Graphite on paper 2019 7

P R IT E S H NA I K It is said that in Goa there were 12 castes in a village, forming a fundamental society. These 12 castes represented the same number of professions including the main ‘gaonkar’ profession that was farming. The other professions were fishing, toddy tapping, cobbling, ‘kalawant’ [the one who serve in temples], pottery, carpentry, the Brahmin [literate], priest, ‘vani’ [businessman], ‘mahar’ [bamboo basket maker], the one who plays music during palki [procession of deities] and goldsmith. Even today people carry their surname according to the caste or village they are belong to; caste is a form of identity and the surname helps them represent and maintain it. Some surnames are common, but different in caste. My work is about the complexity of layers of identity today as per the caste and contemporary professions. In current educated and capitalist society we can see a sort of misunderstanding and neglect of these traditional professions and an erosion of values because of the capital; the changes have introduced discomfort even while these professions created stable options. Pritesh Naik completed his graduation from Goa College of Art in Goa (2011) and post-graduation from S.N. school of Art, Hyderabad (2015). His interest is in the cultural anthropology of spaces through its material remnants or objects, set against a constantly changing scenario of human interaction. He has participated in several group shows and art projects including ‘The Invisible River of Konkani surrealism’ at Serendipity Art festival, 2017; The Mini Print Show, an exhibition of prints, Goa, 2015; “Trash Art” Public Art Project, in collaboration with (CCP) City Corporation of Panaji, Goa, 2013. “The Shadow of Samarra” Collaborative work with Theatre art students of SN of Arts and Communication, University of Hyderabad, 2014; ‘The Black House’ International Workshop on architecture at Kala Bhavan Shantiniketan, 2015 and ‘12x12x12’ the painting show casa Goa art gallery Calangut-Goa (2012).

Multimedia installation with traditional dhol 2019

Untitled drawing series (9 panels) Terracotta clay on paper Multiple sizes 2019 9

D IV E S H G A D E K A R Continuing my exploration of the theme, I have worked on responding to the musical instruments in the Goa Chitra museum collection. For this I found it very appropriate to use soil – mud from the land, to showcase deeply embedded cultural history. As I respond to the objects, and as I collect musical instruments, I see each piece has its own soul; at one time these instruments lived a life where they were responding to people around and the sound resonating from the instrument responded to the soul of the listener. Each instrument talks to itself about the stories that are gone and are lost in history and what they have with them is the memory of the “time”. ‘’Objects are alive only when we respond to them.” “Things start moving when you touch them.’’ Divesh Gadekar completed a Master’s degree in printmaking from SN School, University of Hyderabad and completed his BFA degree at Goa College of Art. His practice has developed in printmaking, painting, sound installations, performance and multidisciplinary mediums. He has assisted several artists for art festivals and events, including H.H. Art spaces for Serendipity art Festival 2017; Sound artists at Story of Space 2017; and varied public cultural programs. He has participated in the Goa State art exhibition student category in 2010, 2013, 2014, 2015, 2017. He was awarded by the State art exhibition in 2014 & 15. He has exhibited in the Mini print Exhibition Goa 2015, Kochi Muziris Student Biennale 2015 (video installation), curated by Lina Vincent; KIPAF Kolkata Performance art festival 2015/16; ‘Breaking open the ear’: Sound as an experimental medium, sound sessions with Michael Northam 2017. He was selected for a Residency at HH art spaces with mentor Mithu Sen in 2017. He collects musical instruments and is pursuing research on folk instruments and ritual performances in my home region, Goa.

The Shift Acrylics on Canvas 24”x24” (central section) 12”x10” (8 sections) 2019

C LA R I C E VA Z After Liberation in 1961, the Church in Goa underwent a SHIFT that was accelerated by the coming of the Second Vatican Council (1965). The message of Christ was incorporated into religious devotion of native communities, who lived simple lives that often revolved around special feast days, religious devotions, and litanies in chapels. It was something they looked forward to as a social event. Goa’s integration into the Indian Union saw diverse changes enter into the worship as compared to the grandeur of Europeanized worship. Over recent decades modern technology has resulted in another SHIFT as our society embraced a globalized, progressive world, with the Church continually adapting to the times. There is still a sense of popular religious devotion today. Rather than focusing on traditions and rituals, living a life of social purpose is considered more meaningful. There is a growing sense of Goans taking that spiritual pilgrimage WITHIN through meditation, contemplation, and healing prayer… with a result that some of our grand Churches with their religious paraphernalia have become museums and many objects of faith have been swallowed into the sands of time. Some of them remain safe in spaces like Goa Chitra. Clarice Vaz is a nurse practitioner by profession and a self-taught Contemporary artist residing in Saligao, Goa. She makes art work using innovative, non-traditional tools particularly when practicing Fluid/Spin painting techniques; she experiments with colours, textures, mediums, gels constantly, even turning to the tools of her medical profession to produce desired effects on canvas surfaces. The process is laborious yet the effect seemingly interesting. Her work borders on intuition, imagination and self-expression and is inspired by her beautiful village surroundings. She explores a combination of themes based on nature or spirituality in her work. She began painting professionally in 2011 and initiated a journey through many group exhibitions. Her solo exhibitions have been ‘Embracing the beat of my Art’ at Kala Academy, Panjim, Goa, 2014; ‘Awakening to the Cosmos within’ at Gallery Gitanjali, Panjim, Goa, 2015; and most recently, ‘SADHANA’ at The Church of Santa Monica, in collaboration with The Museum of Christian Art, Old Goa in 2017/18. 12

Gone Tomorrow Assemblage- digital prints on acid free paper Size variable 2018-19

RA JA RA M NA I K The basic intention of my work is to enable one to witness a particular history in the future, which happens to be my present. By documenting mundane objects, manual activities whose utilitarian purpose have been replaced by more efficient objects and machineries, I am constructing an archive for the future. The photographs are physically manipulated to imitate the idea of memory loss and extinction of the mundane from the immediate surroundings. Most of my works are based on simple ideas taken from my surroundings, arising from engagement with heritage, architecture and culture. These ideas are further combined with memories, observations and experiences to develop into a work of art. I believe that objects are as important as human beings, in my work I treat them as living beings. One of the main concerns of my work is to showcase our diminishing heritage and its importance which includes disintegrating architecture and abandoned structures. Rajaram Naik a young artist based in Goa, India. He completed his Bachelor of Fine Arts from Goa College of Art, Goa University. He was selected to exhibit his work at the KMB Students Biennale under the curation of Shruti Ramalingam, at the Kochi Muziris Biennale 2016. He was awarded with 2 honours in the 41st state art exhibition in 2015-16. He has participated in an international photography workshop by French photographer Ana Bloom as part of the Story of Space Festival, Goa 2017. He works with wide range of processes and methods which include painting, sculpture, installation, photography etc. The main concern of his work is to showcase the diminishing heritage and its importance to history and culture.

Memories of Tireless Repast Rogoddo (left) & Ravi (right) Haldi, Coffee stain, water colour, mix-media 4”x7” Postcard prints (set of 4) 2019

A NTA RA M U K H E R J I Elaborate and decorative, I chanced upon well-aged vintage kitchen appliances and tools at Goa Chitra Museum. Each of these appliances seem to have a benevolent past and a lore of their own. Tireless hands recreating sumptuous repast rekindled in my memories. Churning, chopping, scraping, grinding and squeezing, these processes ingrained in the fine crevasses of the Wooden Ravi or the ageless Grinding Stone; the Rogodo. Our modern rationale may never be able to comprehend the reverent engagements the body undertook with the kitchen equipment’s from the past. Our bodies fully engaged in the act; pushing and pulling the grinding stone, the uneven surface crushing those morsels of garlic and chilies, the eyes and nose witnessing a slow medley of ‘masalas’ coming into a palatable form. Looking back in history, our folks had a delectable affinity with tools specifically the ones used in food preparation, to celebrate life to its brim. Hear the sound, its echoes Notice the breath, its palpable; Notice the mind, its calm; Notice the hands, they know. Antara Mukherjee is a resident Bangalorean who works in integrating areas of Home Science and Design Communication to create amazing illustrated recipes of many traditional ethnic preparations which are endangered to be lost in the alleyway as old grandmother’s tale. Antara has her work published on various virtual food related forums. She thoroughly enjoys gardening and cooking while erstwhile painting and collag-ing recipes in interactive illustrations. She is a member of the Environmental Sustainability Initiative called Repair Café Bengaluru which is a community gathering where repairers, volunteers, visitors come together for promoting the cause of Repair. Her work has been showcased in several exhibitions including ‘ARTPORT_makingwaves GOODFOOD India at Goethe Institut, Bengaluru (2017) and Hyderabad Lit Fest, Hyderabad (2018); group exhibitions at Venkatappa Art Gallery, Bengaluru in 2016 & 2018, and in 2018 ‘Fudu’, a group compilation based on food – among several others. 16

Shenri Woven Coconut fronds, video projection with sound Size- variable 2018

KA L P IT GA O N KA R My research has taken me closer to my roots in Southern Goa, exploring the ethos of my ancestral culture, and invoking diverse memories from encountered objects and landscapes. I investigate the relationship between past and present, producing experiential artefacts that elaborate on specific settings, presenting them in a universal context. How does a culture struggle for its existence; how does a community hold onto tangible and intangible elements that are part of its evolving story? Through a combination of painting, still and moving image, and installation, I acknowledge and describe the experience of loss. In the process of studying the past, I also investigate the revival of intense feelings of belonging, and hopes for others to sense the call of native lands through my imagery. My work consists of multidimensional imagery that is made up of morphing memories and histories that are the foundation of my personal narrative. Kalpit Gaonkar completed Masters of Fine Arts (2015-17) at Sarojini Naidu School of Fine Arts and Communication, UOH, and BFA (2012-15) from Goa College of Art. His solo exhibitions have been ‘Morphing Memories’, at Goethe Zentrum Gallery Hyderabad (2019), and ‘Objects: Stories,Voices’ supported by Directorate of Art and Culture, Govt. of Goa (2017). He was selected for 2014-15 Kochi Muziris Students Biennale. He participated in ‘GOOD FOOD’ – ARTPORT_making waves, Hyderabad Literary Festival -2018; “Trash Art” Public Art Project, with City Corporation of Panaji, Goa 2013. He was selected in the 2013, 14, 15 and 17 Goa State Art exhibition and was part of 2017 Cima awards show. He has participated in several workshops and camps including Print Making Workshop by Directorate of Art & Culture, Goa In Memory of Krishna Reddy 2014; National Bronze Casting Workshop by Kerala Lalit Kala Academy, 2015.

In Debt Woodcut print on paper 30” x 42” 2019

SA C H I N NA I K Being the son of farmers, I have also been practicing farming and I’m involved in it since my childhood. Seeing all the objects and tools in Goa Chitra museum inspired me deeply to work on the theme. My work is related to life around me, human interactions and the symbolic and psychological layers of experience. They also reflect my personal experiences, memories and observed situations, including larger social issues. Woodcut is a medium closest to me, and the marking, scraping and physical interaction with tools and the surface is part of my expression. Sachin Naik completed Masters in Fine Art (print making), S. N. School, Central University of Hyderabad and Bachelor of Fine Arts (Painting), Goa College of Art, Goa University. His work has been showcased in numerous group exhibitions including “Look at this land” etching group show by Sunaparanta centre for Arts, Goa (2012); Manifestation, Exhibition of Graphic prints, Kalakriti Art gallery, Hyderabad (2004-05); workshops like ‘All India Fine Art & Craft Society Artist Camp at AIFACS Society, New Delhi 2012; National Print Making Camp by Lalit Kala Academy at New Delhi at M.S. University Baroda 2008-09. He has been part of numerous state and national art exhibitions and has been invited to biennales including -58th National Exhibition of art at NGMA, Bangalore organised by Lalit Kala Academy (2017), -1st Print Biennale India 2018 organised by Lalit Kala Academy, New Delhi (2018). He has received the Goa State Art Exhibition Award (awarded by Kala Academy, Govt of Goa in 1998, 2001, 2003, 2005, 2009, 2013); 2003 – 2004 -Junior Research Fellowship in Visual Art (Graphics) by Government of India, Ministry of Tourism & Culture.

Daai-che Ferr Sculptural Installation H-12” x L 24” x B- 32” Cold Ceramic / Graphite & Charcoal on Paper 2019 21

RA M DA S GA D E KA R Nostalgia is a phenomenon that touches every person at some point or the other in life. It is a feeling of bitter-sweet emotions, full of yearnings for long lost things and moments. The Goa Chitra Museum is one place that triggers such sentiments of nostalgia into many who walk into the space. To me it has played the role of a Time Machine that took me almost three decades back in time into my childhood days, when I used to visit my maternal grandparents at Chorao Island. A lot of items at the Museum reminded me of the ones that were used by my grandparents in their house. Back then nobody thought they would turn into museum pieces or works of art. One such item is the ‘Ferr’ or the coal iron that was used by my late grandfather (whom we lovingly called ‘Daai’) to press his clothes. My work “Daai-che Ferr” is made in that memory of my grandfather. Ramdas Gadekar graduated with a Bachelor’s degree in Painting from Goa College of Art in 2005. He has participated in numerous art shows and camps, both national and international. Recent shows include a Ceramics exhibition at Carpe Diem, 2019; group shows: by Goa Artist Collective at Serendipity Arts Festival Goa, 2018; ‘Man Enough’ at The Cube Gallery, Moira-Goa, ‘Poonam Lodge: ‘When Does A House Cease To Be A House?’, Goa Artists Collective, 2018. He exhibited at Gwanghwamun International Art Festival 2018, at Sejong Museum of Art, South Korea. He has been a part of ‘The Invisible River of Konkani Surrealism’ curated by Vivek Menezes at the Serendipity art festival 2017; ‘Kama Interrupted’ curated by Apurva Kulkarni, at Gallery Gitanjali, Goa, 2015, among others. He has been a part of 2012 Art Amalgamation, art workshop and exhibition by Tellus Art (Sweden) at Corbett National Park, Uttarakhand. In 2011 he participated in Print Biennale (Mexico), and Print Biennale (Bharat Bhavan, Bhopal). Ramdas presently manages the ceramics studio at Carpe Diem Goa. He is a member of Goa Artists Collective.

A RT I ST S F R O M T H E G OA C H IT RA C O L L E CT I O N

Ekterina Abramova (Russia), Anjum Chaturvedi (Baroda, India), Loretti Joyce Pinto (Goa, India), Mekhlla Harrison (Delhi, India),Yolanda De Sousa Krammermeier. In 2014, a ten day intensive residency was organized by Goa Chitra ethnographic museum in which 8 international women artists participated. One of the objectives of the exhibition was to bring back the tradition of narrative art and to experiment with different approaches to it such as “art in series”. This was a project to supplement the Goa Chitra collections and research through narrative depiction. The theme of the residency was titled “Womanhood” as a recognition to the fact that women have been a true and constant source of inspiration and play a pivotal role in every facet of human existence. The artists who were part of the residency would, through their female energy capture the cultural expressions that exist within our society through their art and narratives. The artist traveled with the curator of Goa Chitra Mr.Victor Hugo Gomes, to remote villages of Goa where the origins of the implements on display at the museum were collected. They had the opportunity to experience firsthand the rural life in Goa and interact with the villagers of Goa and make a connection with the lives of those that once lived and worked with them, creating visuals that narrated a story from an artist’s perspective. The other invited artists included Anna Orbaczewska- Niedzielska (Poland), Ms. Birgitta Volz (Germany), India), and Ms. Nirupa Naik (Goa, India).

L O R ETT I J . P I NT O Acrylic on Canvas, 2014

M E K H L LA HA R R I S O N Acrylic on Canvas, 2014

L O R E T T I J . P I N T O completed a BFA in painting from the Goa College of Art, Goa University in 2003, and her Master’s in printmaking from the Maharaja Sayajirao University, Baroda. Her work has been exhibited regionally and nationally in various exhibitions and festivals in and out of Goa. Recently, she has presented her art works at Serendipity Art festival for ‘Panjim 175’ in 2018, and in 2017 ‘Now you see it! The Invisible River of Konkani Surrealism’ curated by Vivek Menezes; in ‘Introspection’ – curated by Neeta Omprakash, in Dakshinachitra Museum of Arts Chennai, 2018. Her work was exhibited at the 7th Bharat Bhavan International Biennial of print art, 2006, and at ‘Explorations’ for the National Museum for Women in the Arts in 2005. Her artistic ouvre covers various media from charcoal, pencil and dry pastels on paper to watercolours, etchings and acrylics on canvas. Through her paintings, Loretti often brings out social and environmental issues on Goa, like the diminishing heritage and the depleting forests and ecosystem. Apart from exhibitions, Loretti has been a lecturer in the Goa College of Art, in Kala Academy as a visiting faculty, KV school, and others. M E K H L L A H A R R I S O N is a visual artist and professor. She graduated from Sir JJ School of Art, Mumbai in 1990 and completed her Post Graduation in Fine Arts from the College of Art, New Delhi in 1996. Later she gained a Masters in Conservation and Restoration at DIHRM, New Delhi. She was awarded a scholarship by the Koninklije Academie van Beeldende Kunsten, Den Haag, The Netherlands in 1997-98, specializing in the Litho printmaking technique. She is the recipient of prestigious awards, such as the B.C Sanyal Award 2005 and the AIFACS award for Drawing in 1996. She participated in the Indo –German Cultural Exchange of Artists Exhibition in Wiesbaden in 1998. Apart from teaching, she has been an active participant in national and international exhibitions and has also been involved with organising art camps for a range of participants. She also has a wide range of teaching experience at Design institutes such as the Apeejay Institute of Design, JD Institute, Design 26 Innovation Academy, and Amity University.

E K AT E R I N A A B R A M OV A Acrylic on Canvas, 2014

A N J U M C H AT U RV E D I Acrylic on Canvas, 2014

A N J U M C H A T U R V E D I pursued her graduate studies in painting at the Faculty of Fine Arts, MS University, Baroda where she took her post graduation in Graphic Arts in 1990. She has exhibited extensively and participated in national and International art residencies. She was awarded with the University Gold Medal for standing first in class, in B.A. (Fine) Painting MSU, Baroda and All India Fine Arts and Crafts Society, (AIFACS), for printmaking, New Delhi. Some of the shows in which she was invited to participate include Art forms and forms of art, Red Earth Gallery, 2007, 2008: A group show curated by Shri Ajaya Kumar, Trivandrum; 2010: “Boxes and Bookends”- a group show at The Strand Art R o o m , Mumbai’ 2011: “To Japan from Baroda”- a group show, Faculty of Fine Arts,Vadodara; 2012: “The Speaking House”, Camp art show, Kochi, Kerala’ 2013: “Tortoise Junction”, a group show, Faculty of Fine Arts MSU, Vadodara among many others. She has also participated in numerous art camps, workshops and organised programs connected with arts education. E K A T E R I N A A B R A M O V A specializes in painting and graphic arts in the traditional technique. Born in Moscow, she graduated from art school with honors and continued her studies at the Vasnetsov College of Fine Arts, Moscow. In 2007 she received her MFA from the I.E. Repin State Academy of Fine Arts, St. Petersburg, Russia. Her awards include Gold Medal “250th anniversary of the Russian Academy of Arts,” citation from the Russian Academy of Fine Arts for the participation in the exhibition dedicated to the 250th anniversary of the Academy, the Peacekeeper Fund Medal, and AVISKAR – 2016 international VAN GOGH AWARD, Birla Academy of Art & Culture, CALCUTTA-LONDON, UK, among others. In 2018, she completed an Int’l Graphics Arts Festival-Residency, the University of Khairagarh, Chhattisgarh, India. Among her most recent exhibitions are: Solo- “The Nature of Relationship” at 3Squared Gallery, Chelsea, New York, NY, USA (2017); Solo Exhibition “Portrait of Dream” at Prak-Sis Gallery, Downtown Chicago, IL, USA (2017); Townley Gallery, Laguna Beach, CA, USA (2017); Sitka Gallery, MA, USA (2017); RedDot Art Fair, Miami Beach, Florida, USA (2016). She has also had 28 numerous personal exhibitions of her art all over Europe, India, China, and USA.

No Tomorrow Oil on Canvas, 3 x 2’ 2014

Y O LA N DA D E S O U SA K RA M M E R M E I E R Everything that is Goa’s past is dear to me. Going through the museum and through the little villages and simple village folk immune to the world of today was an extraordinary experience. Looking at them, still working hard to stay alive, pulling water from field wells, with cows, goats, hens and cocks and local dogs running around and all this time wearing a satisfied, happy look was almost fairytale-ish to me. Leaving yesterday, ‘today’ was the thought that crossed my mind. There was something to be admired and to feel sad for in the same breath. So the work “No Tomorrow” came into being. Looking at the implements from the exquisite Museum collection, I could relate to each, having seen them being used and then each time I sketched one a thought that might have crossed the users mind dropped by my own thoughts these drawings have my spontaneous thoughts scribbled along with them. Yolanda de Sousa Kammermeier holds a B.F.A. (painting) Degree from The University of Bombay.Yolanda’s style of creating a ceramic like effect on canvas with relief and high gloss has become her trade mark, though she works with other mediums as well. She has held 25 solo shows from 1998, including in Bremen, Germany (2011) Berlin, Germany (2010), Montreal Canada (2009), Goa, Mumbai and Bangalore. The latest ones: 2016 at Art Chamber-A Alma e a Vida, 2017- ‘Monsoon clutter’. She has been invited to 100 group shows, including- 2018 Poland and Japan in 2015-Hungary and Austria, Poland 2014, Bologna –Italy (2011), Hayduboszermeny- Hungary, 2011, 2012, 2013. Arad Romania 2013, New York (2010).Venice-Italy 2009, Tashkent, Moscow 2003, Korea 2000, London 2006, besides Indian cities, including the 48th National Exhibition of Art organized by Lalit Kala Academy, Delhi. She was awarded Most Significant work at the Toyama Japan International Art Residency organized by the Toyama Artistic and Cultural Centre, Japan in 2015 and nominated by the jury as ‘Most Impressive Painter’ at the International Art Camp at Hajdunanas Hungary in July 2013, among several other honours. 30

WORKSHOPS

Bhatikar Model High School, Margao Museum visit and drawing workshop, April 2019, with facilitator Sachin Naik

El Sheddai Charitable Trust, Assagaon Museum tour and Guided Drawing - narrative visualisation workshop, May 2019, with facilitator Rhea D’Souza

Ganpat Parsekar College of Education, Arambol Museum tour and theatre workshop ‘Chakra View’, June 2019, with facilitator Arundhati Chattopadhyaya and coordinator Pritesh Naik