Goa beautifully blends tradition and artistic expression. Recently, a reel surfaced on Instagram showing a man’s face covered in clay with participants adding lighted candles on it. The intriguing act led to much curiosity, and so, we decided to find out more from the artist, himself.
A visual artist with a background in performance art, Bhisaji Gadekar’s work spans across sculpture, installation, pottery and various crafts.
As part of 'Matiyecho Aawaz', a durational performance art event held on January 19, at Kala Academy, in Panjim, Bhisaji, along with other creative minds, went on to amplify the voices of the potter community in Goa.
“That video, where I’m covered in soil, holds a deep, symbolic meaning. The lighted candles represent a source of hope and illumination, signifying the collective effort to bring light into spaces of darkness or struggle,” says Bhisaji.
Aimed at creating an immersive experience, uncovering the stories, struggles and heritage of Goa’s potter community, Matiyecho Aawaz celebrated craftsmanship, while addressing the challenges faced in a changing world, bridging the past and future in a powerful dialogue on art, tradition and resilience.
The performance, which was part of the Rolling Museum series, curated by Avik Debdas and supported by the Kiran Nadar Museum of Art, New Delhi, was made possible through collaboration with Kala Academy, Panjim, and the Directorate of Art and Culture, Goa.
“The act of audience participation — lighting and placing the candles — was integral to the work. It symbolised a shared responsibility and engagement,” explains Bhisaji, whose relationship with soil goes back to his childhood days.
“This gesture reflected unity, hope and the potential for collective change, resonating with the resilience and aspirations of the potter community,” he adds.
Growing up in the village of Mandrem, soil was natural, abundant and part of his daily life. For Bhisaji as a child, it was a medium for play, but later, as part of a farming family, it became essential to working and cultivating the fields.
His journey into pottery, however, began unexpectedly when his teacher encouraged him to learn it. He trained as a master potter at KVIC Khanapur in Belgaum.
“It felt like a natural progression. As a child, I often played with chikan matti (soft clay) at neighbours’ homes, while helping make Ganesh idols, which created a deep, lasting connection with the medium,” he shares, adding that this connection has remained central to his artistic practice, evolving alongside his studies in Fine Arts and ultimately, pottery.
Today, clay has become both a medium and a metaphor for his journey as an artist. To him, the soil truly has a voice.
“It carries the stories of those who have shaped it and have been shaped by it. It speaks of resilience, creativity and the unyielding bond between humanity and nature,” he says, wishing to amplify this voice, ensuring it’s heard, understood and valued by all.
A craft that blends creativity with utility, pottery works, especially from areas like Bicholim, were once renowned, with many flocking to Goa to see these. However, today with fewer using it as primary medium, many face economic struggles as the demand too, has declined.
“While there is growing interest and demand for pottery today, many potters lack exposure to contemporary trends and the knowledge needed to innovate and adapt to changing tastes. This limits their ability to create new designs or explore creative opportunities that could help sustain their practice,” he points out.
To help address this, Bhisaji suggests a collective effort by the government, NGOs and the community.
“I’d like to propose ongoing workshops for potter families, introducing new techniques and materials. It must be a sustained effort with repeated sessions, supported by honorariums to ensure participation without financial strain,” he says, adding that empowering them will revitalise Goa’s rich pottery tradition.
Asked if Goans are deeply rooted in the soil or if it’s fading, Bhisaji pauses, saying it’s a complex question he can’t fully answer.
“This question is something every Goan should consider. It’s not just about preserving pottery, but also about honouring centuries of tradition and our deep connection to the land, something that has shaped us,” he shares.
While Matiyecho Aawaz was a first of its kind, the attention the reel received is a step in the right direction to bring focus to the pottery community and make a difference. And artists, like Bhisaji, hope to echo that voice.