In one corner at the ongoing art show ‘In/Of Goa: Souza at 100’, there’s a drawing of an insect. Titled ‘Insect’ (1954) is actually inspired from artist F N Souza’s autobiography, ‘Nirvana of a Maggot’ stated Conor Macklin, director, Grosvenor Gallery, during a walkthrough. He informed that F N Souza believed that how maggots which come from dirt, he has also come from the bottom of your shoe and I am the guy from the dirt. “I’ve come from nothing, I will work my way out and I will fly.” Thus, this drawing of an insect has a face and also armours, so it is martyred.
Conor further spoke about some of F N Souza’s works, the techniques Souza used like cross hatching to give it a 3D effect or how he used to paint large size paintings using light box projection. For such work, he was assisted sometimes by his daughter, Keren and some other artists. Related to it, Conor shared an instance during an auction of Souza’s famous painting, ‘Last Supper’ at Mumbai, his assistant called Nimisha stated that the artwork is by her as it was signed as ‘Souza +’. It was believed that the ‘+’ sign indicated that Nimisha painted the work along Souza. This made headlines next day, and thus the sale of the painting was cancelled, informed Conor.
Prior to this walk, Conor delivered a lecture on Souza, on his art, his inspiration and how various things influenced Souza and his art. Like the socio-political climate of the 1940s India started affecting him and his art. F N Souza, at that time was in Mumbai, expelled twice – once from St Xavier’s College for his pornographic drawings in the toilets, and then from the JJ School of Art for taking down the Union Jack in protest against colonial rule.
Souza had his first solo exhibition when he was only 21. His rebellion continued. Two years later, a little after India gained independence, Souza – along with MF Husain, Krishnaji Howlaji Ara, Hari Ambadas Gade, Sayed Haider Raza and Sadanand K Bakre – founded Progressive Artists’ Group as a challenge to the Bombay Art Society.
He then moved to London and his first show in the city in 1955 – the works bolder and more radical than in the past – was sold out, and he
also received a lot of acclaim for his autobiographical essay, ‘Nirvana of a Maggot’, which was published in the Encounter magazine in the same year. In 1967, he then moved to New York and then returned to India. He passed away on March 30, 2002.
Conor who showcased some of his best works stated that the sense of rebellion was always reflected in his work. He gave example with his work titled ‘The Family’ (1947) that showed a modest family of farmers that was previously
titled as ‘After Working in the field all day we have no rice to eat’ and ‘The Proletariat and the Plutocrat’s Dinner.’
Conor stated that many of Souza’s female figures were inspired from sculptures found in old monuments of India, especially of Yakshis. He also spoke about the similarities between works of Picasso and Souza.
Conor also spoke about Souza’s Kalam series which he did along with miniaturist from Jaipur, his Black on Black series and some of his masterpieces like ‘Crucifixion (1959)’.
This lecture was part of the exhibition ‘In/Of Goa: Souza at 100’ that has drawings and paintings from private collections, in collaboration with Grosvenor Gallery, Saffronart, Kiran Nadar Museum of Art and Harper Collins.