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This Is Epic

A curation of our design ideas and inspirations for houses in Goa, contemporary art and architecture.

 

 

 

 

Open House at Toybox - June 21st, 2025

On June 21st, 2025, we opened the doors to everyone curious about architecture design craft and old spaces given new life. We wanted to share the work, the decisions and the stories, to spark conversation across students, designers, architects and neighbors, and to show how careful restoration can celebrate history while making room for contemporary living. The open day also fostered learning, dialogue, community and a deeper public connection.

Toybox is a contemporary restoration of a 150-year-old Portuguese house in the village of Aldona in North Goa. It is a home where old and new dance together, where every corner tells a story and joy lives in the details. Each chamber in the restored house is singular and draws from both historic and contemporary ways of making, with larger openings that invite light and breeze and create a seamless connection between inside and outside. Earthy finishes, reused timber, laterite and handmade terracotta complete a sense of barefoot luxury that feels rooted in place. The house sits behind a long front garden shaded by two full grown mango trees, a giant chikoo tree and two coconut trees. A gentle walk links Toybox to the backwaters of the Moira River.

Over 60 people had registered to see Toybox, and around 50 actually showed up. We were a bit worried about how we would host so many visitors at once, but the team, Sanjeet Wahi, Sarang Karmarkar, V V Kusum Priya, and the rest of the crew, handled it smoothly and without any hassle. As people arrived, we grouped them into small groups of 4 to 5, and Wahi and Sarang guided each group through the house, explaining the process, the project, and answering questions along the way.

Visitors wandered through the rooms, and I remember catching glimpses of them pausing, whispering, or tilting their heads in thought. The old, compartmentalized spaces felt different now, more open and light-filled, and questions came in soft, curious bursts. Each space felt unique, blending history with contemporary design, and people asked why some areas felt intimate while others were more open. The larger openings invited light and breeze, and questions arose about how this affected the mood of the rooms. We explained how these choices encouraged a connection between indoors and outdoors, and visitors lingered in quiet reflection, imagining themselves moving through the spaces. We found ourselves explaining how the balcao had been carefully transformed into a verandah that opens to the garden, and there were moments of quiet reflection as people imagined living there. The raised roof and mezzanine sparked gentle debates about communal zones, kitchens below, dens above, and how the spaces might shape daily life.

The approach to Toybox became part of the conversation as well. Guests noticed the long front garden, the mango, chikoo, and coconut trees, and the walk toward the backwaters of the Moira River. They asked how these elements influenced the experience, and we shared how the landscape and the sense of arrival shaped the overall feeling of the house.

They lingered over materials, touching the timber, the terracotta, lifting shutters, examining reused wood, wondering about choices. These moments led to conversations about designing with care, sustainability, and making old elements feel alive again.

The central courtyard and operable openings drew eyes up and across. Visitors noticed the shifting light, the soft movement of air, and we talked quietly about indoor-outdoor flow and natural cooling. Laterite and red oxide flooring prompted murmurs on grounding the home in its setting, giving a sense of calm and place.

Looking back, it was clear that the smooth flow of visitors and interactions owed a lot to the careful planning and attention of our team. The team behind the day deserves full credit. V V Kusum Priya (@the.paper.city) handled the posters, event organization, and everything in between. Sanjeet Wahi (@sanwahi), Sarang Karmarkar (@sarangkarmarkar) and Praveen Sankar who not only led the restoration but also guided visitors through these spaces in intimate group walkthroughs, sharing stories and insights along the way. The rest of the team includes Xena Mendonça, Anagha A Chinchalkar, Harshada Kulat, Anjana B Dev, Vaishnavi Kannalath, Ananya Hojge.

Mareena Michael (@mareena_m_) and her team (@_storeystory_) captured the day beautifully. Mareena has been part of our journey before, and it is inspiring to see her now shaping stories for others with the same care and clarity.

The Open House was more than a showcase of our work. It was a reminder of the conversations, collaborations, and shared curiosity that keep spaces like Toybox alive. We are grateful to everyone who came, asked questions, and explored with an open mind. It made the day feel meaningful, alive, and well, just right.


Photographs and videos were taken by Micheal Mareena (Storeystory)
Text written by V V Kusum Priya

Old Goa Heritage Walk with Noah Fernandes

Old Goa is a place where time either stands still or carries you elsewhere entirely. Walking through its avenues and ruins feels like a quiet teleportation into another world, one shaped by centuries of faith, belief, myths, hymns, power, and artistry. At moments it resembles stepping into a fragment of old European architecture, yet it remains distinctly Goan in spirit. Team Grounded experienced this magic firsthand on a heritage walk guided by the engaging and insightful Noah Fernandes. It was not just a walk but an immersion into stories carved in stone.

Our Lady of Rosary Church

We began at the Our Lady of Rosary Church, perched quietly on the Holy Hill. It’s simple laterite façade does not boast the grandeur of some of Old Goa’s other monuments, yet it holds deep significance. It is one of the oldest surviving churches in Goa, a silent witness to the early years of Portuguese conquest and settlement. Standing there, we felt the weight of beginnings, not just of a building, but of a whole era.

As architects, we were struck by how restraint in design can hold more power than ornament. In a world where façades often compete for attention, the Rosary’s simplicity commanded stillness and reverence.

Santa Monica Church

Whispers of Grandeur

From there, we walked to the Santa Monica Church, once Asia’s largest convent. The scale of the structure was overwhelming, yet within its aged walls lingered stories of faith, discipline, and devotion. Noah spoke of the nuns who lived cloistered lives here, shaping a religious culture that extended far beyond Goa. Even in its quiet decay, Santa Monica felt alive, as though its history still resonated through the silence.

Within the Convent of Santa Monica stands the Museum of Christian Art, a remarkable institution that preserves and celebrates the fusion of Indian craftsmanship with Christian themes. Established inside the Convent, the museum holds exquisite works of sculpture, paintings, textiles, and liturgical objects that reflect how local artisans reinterpreted European styles through their own traditions. What struck us most is how unique the museum feels, not only because it houses an extraordinary collection of Indo-Portuguese art, but because of the way it is integrated into the convent itself. MoCA is not just a repository of objects; it acts as a living bridge between worlds of art and devotion.

Through its carefully curated displays, it reveals how local Goan artisans reimagined Christian themes with Indian materials and techniques, creating a body of work that is both global and rooted in place. But beyond its collection, MoCA opens its doors to the community in meaningful ways - through workshops, lectures, heritage walks, and educational programs that invite the public to engage with history on a personal level. In doing so, it transforms art from something to be observed into something to be experienced, keeping the dialogue between past and present very much alive.

We felt the tension of a cultural transplant: European forms re-rooted in a tropical climate. Architecture absorbs the context it inhabits, and here, the marriage of style and environment was palpable.

St. Francis of Assisi

Where Cultures Met

Next was the St. Francis of Assisi Church, a place where the Portuguese Manueline style meets Goan artistry. The gilded altars, the intricate frescoes, and the detailing in every corner spoke of craftsmanship born of both European and Indian hands. It was here that the idea of Goa as a cultural crossroads truly struck us - a place where traditions didn’t just coexist but merged into something new and enduring.

Se Cathedral

Awe in Stone

Nothing quite prepares you for the sheer scale of the Se Cathedral. Its towering façade, its soaring ceilings, and the famed Golden Bell all commanded reverence. As Noah recounted its history, dedicated to St. Catherine and built over nearly a century, we could not help but feel humbled by its presence. It was more than architecture. It was a statement of faith and power carved in stone.

In contrast to human-scaled villages, this grandeur reflected colonial ambition. Today, oversized architecture often feels impersonal, but here scale carried the weight of history and conquest.

St. Cajetan Church -

A Grand Finale

Our walk concluded at the St. Cajetan Church, a Baroque gem inspired by Rome’s St. Peter’s Basilica. With its Corinthian columns, intricate altars, and harmonious proportions, it stood as a reminder that even in Goa, thousands of miles away from Europe, echoes of the Renaissance found a home. It was a fitting finale, graceful, elegant and full of presence.

This imitation does not mimic but transforms through material, climate, and context. Unlike replicas in global cities, here the architecture becomes distinctly Goan.

Reflections Beyond the Walk

Looking back, what made the walk so memorable was not only the grandeur of the churches but the way Noah wove history into lived experience. His storytelling connected stone to soul, helping us see Old Goa not as a collection of monuments, but as a living story of faith, power, art, and resilience.

For us at Grounded, it was a reminder that history isn’t just about the past. It is about how we carry it forward, how it shapes our spaces, our culture, and even the way we see ourselves. We ended our walk under the graceful arches of St. Cajetan’s with a quiet sense of gratitude for the heritage, for stories, and for the chance to walk through history together.


Noah Fernandes is a Conservation Architect, presently working as Assistant Professor at Goa College of Architecture. He has been conducting heritage walks of the Holy Hill in Old Goa since 2013. He has studied and documented the cultural landscape along the River Mandovi during his Masters in Architectural Conservation from the School of Planning and Architecture, New Delhi.

Text by V V Kusum Priya (@the.paper.city)
Photographs by Sanjeet Wahi and Arshita Mehta

Delhi’s living history at Humayun’s Tomb and Mehrauli Archaeological Park

Humayun's Tomb located in Nizamuddin East, Delhi

This summer in Delhi felt a little different. Anjali (our founder), who grew up and studied in the city, wanted her children (9 & 5 years old) to experience the Delhi she has always cherished. For her, Delhi was never just a capital but a living museum of history that has hosted a multitude of kingdoms and settlements over the past. Growing up and studying architecture amidst this historical backdrop became an integral part of her training as an architect. They shaped her sensitivity to context, to time, and to the layers that make a place meaningful. It is interesting that history best leaves its marks through its architecture. Anjali finds it fascinating to imagine the day-to-day life as lived in the historical spaces, the use of material, interaction of light and wind (pre-air conditioning days), role of water and landscaping.

On this summer visit to her kid’s nani’s (grandmother) house, she felt it was time for her children to discover the city in the way she once knew it. She wanted them to see Delhi not as a busy, overwhelming metropolis, but as a place where history and memory come alive in unexpected corners.

Together with Intekhab Alam, a conservation architect, we curated two heritage walks - through Humayun’s Tomb complex and the Mehrauli Archaeological Park. The choice of the two sites was interesting, first due to their current state. The Humayun’s Tomb is a UNESCO World Heritage Site and has been pristinely restored with a new museum on-site and the addition of Sundar Nagar Nursery with its collection of secondary monuments that add a lot of new acreage to the property. While, the Mehrauli Archeological Park seems forgotten in comparison and still retains a ruiness quality that gives the site a heightened romanticism that is prized by creative individuals. The Mehrauli Archeological Park is owned and managed in part by various entities like the DDA, ASI, etc. Each has their own method of addressing ‘heritage’ and that results in varying experiences through the Park. Historically, both complexes were popular sites for construction of important buildings throughout the medieval period and house monuments from various periods beginning in the 11th and 12th Century AD. The reason interestingly would be their proximity to the Dargah of Sufi saints, Nizamuddin Auliya in the case of Humayun’s Tomb and the Dargah of Hazrat Qutubuddin Bhaktiyar in the former.

The new museum at the Humayun’s Tomb offered a well-curated, air-conditioned pause that felt especially welcome in the Delhi heat. The Sunder Nursery area nearby, with its extended opening hours, made us reflect on how tropical countries like ours should rethink attraction timings. Why restrict them to rigid 9–5 slots? Evening hours, when the sun softens and the air cools, allow for experiences that are gentler, more enjoyable, and more memorable.

Moti Masjid (Mehrauli) - a gorgeous gem in the middle of a chaotic development

Intekab knows these monuments like the back of his hand, and took us through the labyrinth streets of the Mehrauli settlement to experience a real gem, the Zafar Mahal. Originally built as a palace where the Mughal royals would stay during their visits to the nearby durgah, this was where the British kept Bahadur Shah Zafar imprisoned after the revolt of 1857. The Palace structure is sadly in a ruiness state at present and devoid of any measures to protect it from further deterioration. That said, Anjali notes that she loves ruins and finds them romantic. One can still easily identify the courtyards, covered colonnades and airy upstairs quarters with balconies and dainty columns and arches, promising the splendor of its past. Setting aside romance though, the palace is being encroached from all directions by the surrounding settlement, a common problem with several monuments in Delhi and not an easy one to solve.

For us, these walks were less about monuments and more about perspective. They were about seeing how Delhi, in all its layers, still speaks through water, through ruins, through birdsong, through spaces that have held lives for centuries. And for Anjali’s children, it was perhaps the beginning of their own relationship with the city’s timelessness.

Vickram and Anjali Mangalgiri with conservation architect, Intekhab Alam


Photographs were taken by Anjali and Vickram Mangalgiri
Text written by V V Kusum Priya and Anjali Mangalgiri

Discover Arthshila Goa: A New Art Gallery in Nachinola, Aldona

In the quiet village of Nachinola, Aldona, a cultural space has taken root - Arthshila Goa. This art and design space is not just a gallery, but a platform for dialogue, exploration, and immersive experiences across disciplines. Before the campus of Arthshila became what it is today, the building itself had a story of transformation and purpose. Originally imagined as a space called ‘Thinkering,’ the venue was an experimental playground for ideas and creative interventions. Thinkering was a place of conceptual ferment, where artists, architects, designers, and thinkers came together to tinker and ideate. Later Thinkering became Arthshila Goa - a formal extension of the vision of Takshila Education Society

What is Arthshila?
Arthshila is a cultural institute, an initiative by the Takshila Education Society, which has long been committed to promoting education, arts, and public discourse. With other centers in Ahmedabad, Santiniketan, Patna, New Delhi and now in Goa, Arthshila continues the legacy by building interdisciplinary collaboration, curating exhibitions, and hosting events that speak to both local and global audiences. Arthshila Goa, curated by Maanasi Hattangadi and coordinated by Reethee, explores the intersection of art, architecture, cinema, and design.

Since its launch, Arthshila Goa has hosted an eclectic range of curated exhibitions that reflect the ethos of the space - thought-provoking, relevant, and rooted in contemporary discourse. The inaugural exhibition ‘A Desert Meets a Forest: Contemporary Art from the Himalayas; Curated by Latika Gupta’ spoke about a ‘sense of place’ that is difficult to define; geographers, sociologists, environmentalists and psychologists have described it as the particular affective bonds between places and people. The idea of 'place' is continually produced via a relationship with the land, atmosphere, ecology, cultural contexts and the evolving nature of regions, particularly the borderlands which are especially precarious and susceptible to the effects of climate change, geopolitics and unchecked tourism; all of which have an impact on people and their everyday lives and futures. The artists in this exhibition have a deep connection with the Himalayas - from the cold desert high altitude region of Ladakh to the forested borderlands of Arunachal in the Eastern Himalayas; living and working there. The works reflect experiments with material drawn from the land and processes of making that incorporate the wind, water and weather; bringing to us explorations into local histories, ecologies, belief systems and ways of being. During the timeline of this exhibition, events like film screenings, talks, performances, zine making workshops, among others were taking place.

On 22nd March 2025, the new exhibition Kaghazi Pairahan’ opened. A travelling library of artists' publications exploring social and political dissent across South Asia. Curated by Akshay Mahajan & Devadeep Gupta and presented by Editions JOJO, the exhibition showcases photobooks, zines, and pamphlets that examine publishing as a tool of resistance - against state violence, caste oppression, patriarchy, environmental degradation, and censorship. This iteration expands with new works on protest, citizenship, and memory, featuring interventions by Amchem Mollem, Nishant Saldanha, Niharika Chauhan, Krithika Sriram, and
Rajyashri Goody.

The most recent exhibition, on display from 5th July 2025, Lands, Real and Imagined: Women Artists Respond to the Art & Travel Writings of Maria Graham (1785-1842)’. The exhibition features artistic responses by Kavita Shah, Francesca Genna, Isabel Cauas, Leila Danziger, and Paula Bonet - who engage with Graham’s life and work from their distinct cultural and artistic contexts. These responses reflect the curatorial perspectives of Dr. Patricia Frick, a specialist in Victorian literature and women’s travel writing, and Dr. Janice Glowski, an art historian and curator focused on South Asian and Himalayan art.⁣

The Space
Arthshila Goa allows conversation, reflection, and creativity, the spaces offer a range of environments that cater to varied forms of engagement. As you enter the campus of Arthshila, you walk towards the amphitheatre which is the heart of the space. The outdoors serve as an informal gathering zone, ideal for workshops, conversations, film screenings or simply a quiet moment under the sky.

The Galleries (Gallery 1 & 2) at Arthshila Goa invite visitors into a world of artistic exploration. These spaces accommodate a broad spectrum of exhibitions - from painting and sculpture to printmaking, ceramics, textiles, installations, and design. These galleries showcase visual arts, culture, and multimedia formats, encouraging diverse expressions across disciplines.
The Reading Room at Arthshila Goa houses a thoughtfully curated collection of books, periodicals, digital resources, and films focused on architecture, design, and visual culture. Visitors are welcome to explore the library's physical archive, making it a quiet, resource-rich space for public engagement and research.
The Multipurpose Space is a room to host workshops tailored for diverse audiences, accommodating a wide range of interests and competencies. Envisioned as a space for regular collaborative programming, it is also fully equipped to host film screenings, artist talks, and interactive discussions.

The Takshila Vision
The larger body behind Arthshila is the Takshila Education Society, a non-profit organization that supports initiatives in education, arts, and culture. Through Arthshila, Takshila continues to build spaces for critical thinking, dialogue, and cultural engagement. Each Arthshila centre, whether in Ahmedabad, Santiniketan, Patna, New Delhi or Goa, reflects a local sensitivity while aligning with a broader mission of interdisciplinary collaboration.

Why Visit Arthshila Goa?
Whether you're an artist, a student, a researcher, or a curious traveler, Arthshila Goa offers a unique window into the evolving world of art and ideas. So, if you find yourself in Goa and want to go beyond the beaches, head to Nachinola, spend an evening at Arthshila. Let the art speak, the space breathes, and the ideas flow.


Photographs and Posters were taken from Arthshila Goa website and instagram
Photograph credits: Saiesh Mahale & V V Kusum Priya
Text written by V V Kusum Priya


Follow Arthshila Goa:
Instagram: @arthshila_goa
Website: arthshila.org/goa


Plan Your Visit:
Location: 273, Nachinola, Goa
Tuesday to Sunday, 11am to 7pm
Open to all. Entry is free.

The Poetry of Toybox I LIGHT at 4:17 PM

Ever wondered what a 150-year-old house looks like when the light hits it just right?
At 4:17 pm, the balcao comes to life. The oxide seating turns golden, and the plants by the pool lean into the warmth of the setting sun.
It is as if the house, in its own rhythm, syncs with the time of day.
Have you ever felt that your home has its own pulse? A natural rhythm, just like us?
That is when the light hits the balcao just right.
And if you listen closely, you will hear the pool ripple and the neighbor’s chicken complaining about something.
We once caught a frog chilling on the oxide seating - do you think he noticed the groove pattern?

Material trivia: The cement floor has a matte finish with a subtle tactile grain. No polish. Just patience.

Words by @arshita.mehta
Photographs by
@mareena_m_


GOA VILLA FOR SALE
Toybox is a contemporary restoration of a 150-year old Portuguese house in in Aldona village in North Goa, located adjacent to the river Moira.
Register your interest
here.


Shadow Script at Sunaparanta

Poster sourced from Sunaparanta

On April 10th, 2025, Sunaparanta opened Shadow Script, an exhibition of works from the 5th edition of the Goa Open Arts Catalyst and Engage Artist Grants 2024-2025. The exhibition was on view from April 10th, 2025, to May 3rd, 2025. Since 2020, these grants have supported Goa’s artist community in sustaining and expanding their creative practices. This year’s showcase highlights the works of the latest grantees, developed over six months of exploration.

Presented in collaboration with Goa Open Arts, Shadow Script features works by Divyesh Undaviya, Kiran Tamboskar, Pragya Bhagat, Shilpa Mayenkar Naik, Shyam Pahapalkar, Sumit Naik and Studio Button, led by Katerina Kubareva, in collaboration with Nataliia Marynenko.

Theme / Setting
Exploring themes of time, memory, and perception, the exhibition examines what is seen, what remains hidden, and what endures. Shadows — both real and symbolic, become a language of storytelling, revealing histories, shifting landscapes, and evolving identities.
Shadow Script lets you step into a world where art becomes a poetic meditation on the ways we shape and inherit meaning.

Image of artists and team, sourced from Sunapranta

Shyam Pahapalkar
Shyam Pahapalkar is an environmental artist whose practice explores the intersection of nature, materiality, and environmental change. With a background in art and mathematics, his site-specific installations and sculptural interventions reflect a precise yet intuitive engagement with landscape, memory, and time, responding to Goa's evolving environmental and cultural landscape. He uses natural materials and found objects to examine the fragile relationship between human influence and nature, tracing historical and ecological transformations.

Pahapalkar's works map subtle shifts in nature and memory, revealing how decaying structures and discarded remnants speak to time, erosion, and human touch, often referencing Goa's heritage and the tensions between preservation and consumption. His sculptural installations create meditative spaces where light, shadow, and form converge, inviting reflection on the impermanence of landscapes and the impact of human intervention. As a Catalyst Grant recipient, Pahapalkar has expanded his work, experimenting with new materials and processes to engage more deeply with Goa's changing landscapes and layered histories.

Pragya Bhagat
Pragya Bhagat is a poet, essayist, performer, and storyteller whose work feels like a living poem, intimate and lyrical. She weaves narratives that explore displacement, identity, and vulnerability, blending spoken word, text, and performance into immersive experiences.

Rooted in her travels across India and inspired by the mystical practices of women, Bhagat's work invites us into a world where memory, myth, and resistance coexist. Her art, including works like Magical Women, delves into these traditions, examining the complex realities of these women and reflecting on gender, power, and the violence of witch hunting. Bhagat's works use poetry, song, and sculpture to evoke the mystery and resilience of these practices, drawing from her experiences across various Indian regions. Through her diverse practices, which include founding the Poetry Circle in Goa, she creates spaces for collective storytelling and dialogue.

Divyesh Undaviya
Divyesh Undaviya's work explores the feeling of being in-between, shaped by his experience of moving through many homes. His drawings, sculptures, and installations, often using natural materials like ash and charcoal, carry traces of places left behind and a longing for roots. Undaviya's practice, now based in Goa, creates quiet, immersive spaces that reflect on memory, care, and transformation. His art examines the transitions between places - physically, emotionally, and metaphorically - and how landscapes hold memories and emotions. Inspired by the relationship between self and landscape, his works invite contemplation, self-awareness, and reflection. As a Catalyst Grant recipient, Undaviya has deepened the emotional and spatial impact of his work, shaping immersive gallery experiences.

Studio Button in collaboration with Nataliia Marynenko
Studio Button, an animation studio based in Goa, uses art as a therapeutic tool, particularly for communities recovering from trauma. Led by Katarina Kubareva and Nataliia Marynenko, the studio provides a creative platform for expression and healing. Their 10-month project with the children of Isha Kripa Sadan, a home for girls in distress, involved weekly animation sessions. These sessions empowered the girls to transform their emotions and experiences of trauma and displacement into visual storytelling. The resulting film, shaped by the children's voices, demonstrates the power of art in fostering resilience and new narratives. Studio Button's work highlights how art can offer a space for play, expression, and transformation, enabling healing and growth.

Sumit Naik
Sumit Naik's practice merges hyperreal charcoal drawings with sculptural paper forms, exploring narratives of loss, remembrance, and transformation. Deeply influenced by architecture and emotion, his works intertwine figurative drawing with the structural possibilities of paper. Naik's intricate drawings and sculptural interventions express themes of grief and acceptance, reflecting how loss shapes our internal landscapes. Paper, used both as surface and structure, becomes a metaphor for impermanence, holding traces of the past while allowing for renewal. His works capture the intimate and universal experience of loss, from quiet echoes to gestures of release, reflecting the interplay of memory, time, and space. Through this interplay of fragility and form, Naik's art speaks to the tension between holding on and letting go.

Shilpa Mayenkar Naik
Shilpa Mayenkar Naik's work finds poetry in the everyday, where domestic life, memory, and nature converge. Her practice transforms the familiar into the meditative, reflecting on how objects carry ritual, presence, and personal histories. Naik draws inspiration from her surroundings, engaging with mundane objects, flora, and fauna to explore deeper narratives.

Her installations, like those featuring suspended ceramic Ovala flower garlands, evoke the fleeting beauty of Goan traditions. These works play with perception, blurring the line between permanence and ephemerality through light, movement, and shadow. By capturing the tension between ephemerality and permanence, Naik's art invites stillness, reflection, and an awareness of subtle transformations.

In conclusion, the exhibition proved to be a thought-provoking exploration of shared themes by diverse artistic voices. It was compelling to witness each artist's unique interpretation, demonstrating a deep engagement that extended beyond the mere creation of the work. The installations fostered a heightened level of viewer engagement. The thoughtful management of space within Sunaparanta, along with the deliberate layout of the installations, played a crucial role in shaping the overall experience. Furthermore, the strategic use of lighting was pivotal, enhancing the artworks' impact and, in some cases, serving as a vital element in their completion.

Text and Images by V V Kusum Priya


A Book Summary: GOA, Subodh Kerkar’s Canvas

Authored and curated by Kunal Ray, ‘Goa: Subodh Kerkar’s Canvas’ by Subodh Kerkar elucidates the multifaceted and often-untold history of Goa. Through the eyes of the artist Subodh Kerkar, the book delves into the state's diverse historical elements, spanning its architecture, diaspora, culinary traditions, and colonial heritage. Offering a visually compelling journey, the book examines Goa's people, its vital waters, and their intricate connection to its past. Furthermore, it traces Kerkar's personal evolution from childhood to adulthood as reflected in his paintings, revealing how his early exposure to his father's artistic practice, his travels, and his exploration of diverse artistic approaches shaped his growth and broadened his horizons.

From an early age, Kerkar began painting under his father's guidance, focusing on watercolor depictions of idyllic Goan village landscapes. His initial lessons centered on capturing the nuances of his surroundings in Goa, particularly the use of shade and light to replicate the patterns of leaves. Kerkar's early artistic explorations also included architectural works, his first serious series of artworks, inspired by his interest in the unique architectural heritage of Goa.

In this book, the author tries to show that the artist's roving eye misses nothing: the ocean's imprint on boats, seashells, the lives of fisher folk, and Goan cuisine. Subodh's daring and experimental works include 500 terracotta heads planted on the beach, expansive sand-and-light installations, oysters growing on plates immersed in the ocean, fisher folk depicted in ink, crochet, laterite sculptures, and much more.

Subodh has created several artworks connected with food. One of his most playful sculptures shows different food items growing on Vasco da Gama's head. He has used coconut leaves for installations and made discs with coconut shells. For an art installation, he planted rice, replicating Vasco da Gama's travel route. Subodh says that Goa's fields grow both rice and footballers. During monsoons, the fields grow rice and, in summer, they yield footballers. Football is one of the most important sports in Goa. Subodh planted footballs in the fields to draw the attention of the authorities to the condition of open spaces, urging them to construct more fields for the local youth. The activist coexists with the artist. Subodh doesn't want to disengage one from the other.
~ Excerpt from the book

This book integrates art and environment in a work of enduring beauty and resistance. Ultimately, the author's intended message is to reveal how Subodh Kerkar's artistic journey is deeply intertwined with his observation of Goa's history, culture, and natural environment, and how his art serves as a powerful medium to explore and express these connections.

‘There is a wide-prevailing misconception confusing Goan houses with Portuguese architecture. While Portuguese or European architectural styles could have been an influence, the architecture of the Goan house which includes a balcao (balcony with an inbuilt seating arrangement), decorative windows with coloured glass and oyster shells, railings, columns, compound walls, gate designs, and mosaic floors is a style unique to Goa. Subodh Kerkar, amongst many several other artists, architects, and historians of Goa, believes that to identify this architectural style as Portuguese is an incorrect gross generalisation. Subodh also says that during his long and extensive travels in Portugal, he had never seen such homes. Therefore, these should be termed as Goan houses.’
~ Excerpt from the book

‘It must be acknowledged that in the work of Subodh Kerkar, the beach is a site of performance and exhibition. It is also a marker of his identity as a Goan artist who integrates his surroundings into his art. Further, this can be construed as an expression of the artist's inner resolve to take art beyond the confines of a gallery or closed museum space by bringing it out in the open amidst multitudes of people, many of whom may have had nothing to do with art in their lives. We also sense a kind of freeing up in his art, refusing to be constrained by closed spaces through these installations held in the open.’
~ Excerpt from the book

On Saturday, April 5th, 2025, artist and founder of the Museum of Goa, Dr. Subodh Kerkar, led attendees at Kala Academy, Panjim, on an exploration that transcended conventional understanding. His highly anticipated lecture, 'Glimpses of Goa's Histories,’ offered a profound dive into the region's intricate past, uncovering narratives often overlooked in popular accounts.
This lecture organised by the Museum of Goa in Pilern, beautifully merged art, history, and identity through the perspective of an artist whose creations have consistently resonated with the essence of his native land. Notably, the lecture also served as the launch for ‘Goa: Subodh Kerkar's Canvas,’ a book by cultural critic Kunal Ray that meticulously chronicles Kerkar's artistic journey and his sustained dialogue with Goa's heritage.

Subodh’s artwork exists at the confluence of aesthetics and social consciousness. Subodh’s art is interdisciplinary, immersive and thought provoking to say the least.
— Kunay Ray, cultural critic

Text by V V Kusum Priya


About Subodh Kerkar
Subodh Kerkar is a qualified medical professional who gave up medicine to pursue the visual arts. He has carved out a niche for himself, especially in the field of conceptual art. He is the founding director of Museum of Goa, which is one of the largest privately owned contemporary art spaces in the state. His work has been shown at exhibitions and several art events in India and abroad. He is also a well-known public speaker and educator.

About Kunal Ray
Kunal Ray teaches courses in literary & cultural studies. He studied at Fergusson College, Pune where he also taught briefly before joining FLAME. He is a leading cultural commentator, and his writing regularly appears in The Hindu, The Hindustan Times, The Indian Express amongst other publications. He recently co-edited Shabd aur Sangeet - Unravelling Song-Text in India (Three Essays Collective, May 2019). He is also the co-founder and co-editor of On Eating - A Multilingual Journal of Food & Eating (oneating.in)

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The Poetry of Toybox I LIGHT
villa for sale Goa

Older homes have a way of keeping to themselves. Like they’ve seen enough of the world and would rather stay curled up. The windows at Toybox were no different — shy little squares, peeking out but never quite stepping forward.

So, we had a quiet conversation with the house. Asked it to open up a little.

We didn’t barge in. We coaxed it. Gently.

Now, there are large sliding-folding teak doors that open wide to the verandah. Custom-built to fit the nearly 24-inch-thick walls - because yes, these walls were built before insulation had a name, and somehow still do a better job.

We carved out light wells and surprise skylights. We added a sculptural window in the kitchen that looks like it might float away. Every new opening is still rooted in the original soul of the house - just a little braver now.

Words by @arshita.mehta
Photographs by @mareena_m_


GOA VILLA FOR SALE
Toybox is a contemporary restoration of a 150-year-old Portuguese house in in Aldona village in North Goa, located adjacent to the river Moira.
Register your interest
here.


Finding Art in Goa

As architects, we are always on the lookout for art to incorporate into our projects, especially for our artisanal villa developments in Goa. As we design only one home at a time, we take our time with every detail, ensuring each home is unique and thoughtfully designed. One of the important aspects of this process is selecting the right art to complement the design. Over time, we've come across many wonderful galleries across Goa, and we're excited to share our favorite spots with you.

You don’t make art, you find it
— Pablo Picasso

Explore more in Goa…

Portuguese Sea Forts

Standing at Miramar Beach, gazing at the structure on the nearby hill, I realized how little attention the forts of Goa receive compared to its famous beaches. Living in Goa, the narrative often revolves around the coastal beauty, but these forts hold stories of architectural and historical significance that are equally captivating.

This realization led me to explore more about these forts, and I came across Amita Kanekar’s book, "Portuguese Sea Forts – Goa with Chaul, Korlai, and Vasai." The book delves into the architectural details and historical relevance of these structures. It highlights how the forts were not just military strongholds but also played a crucial role in shaping the regions they protected.

Kanekar’s meticulous research and clear narrative reveal the unique features of each fort, from the sturdy walls of Fort Aguada to the more delicate ruins scattered across the state. She draws comparisons with similar forts in Maharashtra, showing how regional architecture has been influenced by shared histories and geographies.

This book is essential for anyone interested in the historical and architectural fabric of Goa. If you are a history geek and enjoying going to heritage walks, and explorations, this book is for you.