A relatively untold story of Goa’s unsung hero is that of Frazer Andrade. Though a qualified chemist by degree; Frazer’s personal enthusiasm, love and devotion towards the restoration of erstwhile valued pieces of Christian Art has led to his own home being transformed into a private museum of awe and delight.
Frazer Andrade of Margão has made it his life long journey to convert his passion into a mainstream wonder that would bring to life Goa’s historical and religious works of art. Since his commencement in 2014, he has specialised in Goan Christian Art dating between the 17th and 20th century AD.
To be honest his success didn’t come without its fair share of troubles. Chief being the old granny tales that having broken religious statues [that were once sources of good energy] have now suddenly become beacons of negative vibes. Others include, finding religious statues or posters by the wayside or water bodies is a result of black magic. This was further compounded by the Church that dictates that former or deformed religious objects should be burned or buried. So going against these age old unwritten diktats was no easy feat; testimony to his fervor and thus success today.
Frazer’s commitment to protecting Goan Christian art, over the years is shown in the various ways he gathers his collection. Many of his pieces come from private homes and antique shops. This is a far cry from the yesteryears where he used to save up his pocket money to buy one. His parents have also been crucial in this journey, providing him with a lot of financial help. Some of the pieces hail from his own family heirloom, while others have been kindly given to him by people who share his goal of protecting these cultural treasures for future generations.
Frazer curates and shares many and interesting snippets online, from his collection. Speaking of which his solo mission couldn’t be without much wing without the help of friends notably Shallet Furtado and Leanne Mesquita who in their own way have helped in spreading the fervor among their social circles and beyond.
But with each passing day and with each new entry, Frazer faces growing obstacles in managing this project alone. It is becoming both financially straining and time-consuming. He hopes to receive additional support from the government through funding for initiatives like his or from like-minded individuals interested in art, to help sustain and expand his collection. This would help him foster his passion for preserving Goa’s artistic heritage more feasible and impactful. Another challenge he encounters is the lack of physical space. Currently, his collection is dispersed throughout his home, but he dreams of finding a better way to display it.
This is further compounded by social criticism, a lack of professional recognition, and personal moments of demotivation, though these have not deterred him so far. Interestingly, he highlights casually, a less talked-about issue in the art world: the prevalent crab mentality among those of similar ilk / profession, with very few people genuinely willing to offer guidance or support for growth. Andrade wishes that his efforts ensure that these precious artifacts continue to be a vibrant part of our shared heritage for future generations to appreciate and value. He concludes by saying, “For others, I may be seen as an antique grabber or a scrap dealer, but to me, I am a son of Goa striving to preserve a piece of her heritage. If I cannot die for Goa, I will at least live for her.”
