To read the first part of When the Art World United, click here.
The King and the Peasant
By Malavika Neurekar
Victor Hugo Gomes, made weary by the pace at which his work was taking place, woke up to an unexpected email on the morning of 21st October, 2009. It was a letter from a great Goan artist based in California, Dom Martin, which opened with a small tale:
“In ancient times, a king had a boulder placed on a roadway. Then he hid himself and watched to see if anyone would remove the huge rock. Some of the king’s wealthiest merchants and courtiers came by and simply walked around it. Many loudly blamed the king for not keeping the roads clear, but none did anything about getting the big stone out of the way. Then a peasant came along carrying a load of vegetables. On approaching the boulder, the peasant laid down his burden and tried to move the stone to the side of the road. After much pushing and straining, he finally succeeded. As the peasant picked up his load of vegetables, he noticed a purse lying in the road where the boulder had been. The purse contained many gold coins and a note from the king indicating that the gold was for the person who removed the boulder from the roadway. The peasant learned what many others never understand: every obstacle presents an opportunity to improve our condition.”
The implication of Dom Martin’s allegory became clearer as Victor continued to read the rest of the email. Dom Martin had decided to part with all that remained of his material possessions in Goa, and bequeathed a generous donation to Goa Chitra. Victor trembled with excitement and a certain degree of disbelief as he continued to read. Dom Martin, assuming the role of the ‘king’ and likening Victor to the ‘peasant’ in the story, had also bequeathed upon Victor theeight panels of pen on paper drawings that adorned St. Francis Xavier’s casket at the 1974 exposition; seventy-one original artworks locked up in Martin’s Porvorim flat; and the rights to the Porvorim flat of 140 sqmt!That was not all. The Vincent Xavier Verodiano Foundation, instituted by Dom Martin in memory of his father, was established with the objective of recognising and awarding excellence in various fields such as literature, arts, medicine, etc. The foundation had already conferred the prestigious award upon Victor earlier that same year (which included a cash donation of Rs. 50,000 and a medal), and now Dom Martin had expressed his wish to pass that legacy on to Victor as well, alongside the corpus fund of the Foundation at Victor’s disposal.
Victor was at a loss of words, and continues to be amazed even today every time he talks about that fateful October morning.In 2014, he launched the Dom Martin art gallery, which stands at the entrance of Goa Chitra, with the stated objective of promoting young local artists. All the works on displayat the gallery have been donated to Goa Chitra, and are for sale as a means of raising revenue for Goa Chitra. At the heart of this interaction is the fact that the two artists did not know each other personally or had even met. Yet, Dom Martin reached to Victor from the other end of the world based solely on Goa Chitra’s merit and the recognition of its struggles. A quick glance at the email correspondences between them reveals that both men harbour a desire to meet in some part of the world some day. An exemplification of how art transcends distance and space to make possible the coming together of like-minded souls, it is perhaps best expressed by Dom Martin himself in his piece The Aesthetic Evolution of Madness.
The Aesthetic Evolution of Madness…
By Dom Martin
If eccentricity is genius temperament then a refined madness, which motorizes one to maniacally scavenge for discarded vestiges of the past and metamorphose them into museum exhibits, rightfully deserves to be bestowed a cultural halo. Victor Hugo Gomes belongs in this genre of madness.
In 2009, when I bequeathed my 3-bedroom flat and the entire collection of my mid 70’s art which was decaying therein, a condescending Victor thanked me profusely. In the subsequent years, he staked out exorbitant sums of money to restore the art and the flat.
The question foments: Did one caliber of madness underestimate, supersede or absolve the other? The verdict is in the wallets of art collectors, which have a tendency to instantly fatten or resurrect upon the demise of artists who labored and continually exhibited within the engulfing walls of oblivion.
Other than for the uncommon commonality of symbiotic madness, Victor and I have yet to meet and perhaps, might never. However, someday when posterity peers through time’s kaleidoscope, it might likely find our autonomous identity among the colorful, fragmented pieces. And that, is satisfaction enough!