PC Parnavi Bangar

A compelling statue of Abbe Faria has been standing in the middle of a public square in Panjim, for 75 years, depicting him hypnotizing a woman. At a liminal place, between the current Panjim city and the history of Goa, with a forgotten legacy.  

Abbe Faria

(31 May 1756 – 20 September 1819)

was a Goan Catholic priest and one of the pioneers in the scientific study of hypnotism. Born José Custódio de Faria in Candolim, Bardez, Goa, he moved to Lisbon with his father in 1771.

Convincing the King of Portugal to support his studies, he went to Rome to pursue the priesthood, earning a doctorate and another degree focused on the Holy Spirit.

Faria departed from the then-popular theory of "magnetic fluid" in hypnotism, emphasizing instead the power of suggestion and the concept of autosuggestion. He demonstrated that what he termed "nervous sleep" was a natural state, laying the groundwork for modern hypnotism.

Faria’s impact extended beyond his scientific work; he also inspired the character Abbé Faria in Alexandre Dumas' 1844 novel "The Count of Monte Cristo." In the novel, the character is an imprisoned priest who teaches the protagonist various skills, reflecting Faria's real-life intellectual legacy.

PC Gaurav Sawant

Interestingly, the statue's location across from the gaudy casino boats on the Mandovi River offers a striking contrast. This juxtaposition encourages tourists to consider Goa beyond its party image, appreciating its rich history and Panjim’s historic urban fabric. The statue is hard to miss for those living in Goa or driving into Panjim, forgotten but in plain sight.

During a recent visit to HH Art Spaces in Aldona, Goa opened in 2014, I saw the ‘Déjà vu’ exhibition, which was a part of a few live performances. This exhibition, photographed by Shivani Gupta, with a focus on performances using masks as props beautifully captured the essence of live performances. The photographs preserved the emotions and energy of the performances, allowing viewers to engage with themes of identity and change even after the live acts ended. One photograph of the exhibit particularly stood out to me, it was Farah Naz Moon’s performance with a green paper sheet.

In this simple piece Called 'How to live together?’, the artist held a large sheet of green paper that moved with her breath and the wind, seemingly merging her with the background. The paper gently covered her face, blurring her identity while locating her presence in the space. Like she was becoming one with her surroundings, not by disappearing but by blending into the context around her.

How to live together?

This reminded me of our architectural practice- Grounded in Goa. When we design villas in Goa, especially with projects that engage with the natural beauty of the land like the House with Three Pavilions and Nivim, we strive for something similar. Architecture that doesn’t dominate but complements. We don’t hide the building behind metaphorical paper sheets, but we design in a way that responds to the environment. 

Spaces that belong

HH Art Spaces

If you're in Goa and love art, be sure to visit HH Art Spaces in Aldona. Located beside a beautiful St. Thomas’ Church with a stunning view, they showcase exhibitions that bring together contemporary art and performance. It's a must-visit for art enthusiasts, young artists, and art collectors looking to explore something unique.

St. Thomas’ Church

During my recent trip to Gujarat for the FOAID event in Ahmedabad, for a talk about our practice in Goa, Grounded. I visited ‘Amdavad Ni Gufa’ where art meets architecture quite literally. This extraordinary art gallery designed by B. V. Doshi, houses the works of the famous artist M. F. Husain. Also known as the Hussain-Doshi Gufa, the design of the space perfectly complements the art in it. The curves, openings, and enclosures create a unique environment with light and shadow playing beautifully throughout the space.

Amdavad Ni Gufa was born out of a conversation between Doshi and Husain that took place thirty years before the project began. The design was a response to the climate, exploring the benefits of underground spaces. The tortoise shell-shaped roof was computer-aided and employed local craftspeople. Made from ferro-cement and then covered with a mosaic of waste tiles and broken cutlery. These tiles reflect sunlight and help keep the interiors cooler than the outside.

Source: ©Hussain-Doshi Gufa

For art lovers visiting Ahmedabad, Amdavad Ni Gufa is a must-visit. It’s not just about the art on the walls; it’s about the entire experience of being in this space. The Gufa leaves a lasting impression, offering a cool, peaceful environment like an ancient cave of modern heritage.

We love designs that at once marry form and function and do so with panache. As we design our houses in Goa, we are constantly on the lookout for products that elevate a spatial experience through colour, texture, and shape - all without compromising on functional capabilities. The Rio lamp by designer Harshita Jhamtani delivers all this and more.

The Rio shines in different natural stone finishes ranging from White Travertine, Bheslana stone, Green Forest Marble, and Sandstone, among others. In each case, the designer says, “All the lamps are carved out of a single block and have a fluting detail complimenting the properties of each stone.” The diverse options available ensure that there’s a Rio that works for every design style and every kind of space.

Furthermore, the Rio is built to last. In interpreting sustainability, Harshita Jhamtani qualifies, “As a studio, we believe that the most sustainable practice for a designer to adapt, is to create products that their patrons can buy once and cherish for a longtime. We bring this very dream to life by creating long-lasting unique pieces that shall take a small step towards accelerating the low carbon economy.”

Images courtesy Harshita Jhamtani designs

The Rio lamp is minimal, yet artful and robust with its material sensibilities. It is a beautiful way of bringing the elements of the outdoors, indoors. It is timeless in its rustic simplicity.

I discovered Bapi Das at the last Kochi Biennale in 2018. Bapi’s work is genius. First because of his choice of medium. Discarding the typical medias of visual media, Bapi uses a needle and thread. He pulls threads from clothes like a dupatta and uses these threads to embroider and stich his artwork. Second, he manages to achieve this extreme level of detail using single threads that often a magnifying glass is needed to explore his work. And finally, and most importantly, he draws what he calls ‘dream like episodes’, that have their context in his daily life, his struggles, dreams and thoughts. One can very easily get lost in Bapi’s world while exploring deeper into his works.

Trajectory, The Shifting Imaginery

References:

Verve Magazine article on Bapi Das

The Wire article on Bapi Das