THERE is a brilliance in how human existence can be reflected in light, in color, and in complexity. For sculptor Marge Organo, this very uniqueness and beauty of glass is what drew her to the medium.
“Glass sculpture is such a brilliant art form,” she told BusinessWorld.
At Galerie Joaquin in Bonifacio Global City (BGC), her recent exhibit “Iridescence” showcased her many works, from the naked female Torso and the mourning Belle Femme, to the tender Mother and Child and the grand Sto. Niño in various colors.
These sculptures, iridescent in nature, stem from her experiences and beliefs as a woman, a mother, and a devoted Catholic. They’ve resonated with many people, resulting in shows where most, if not all, of her works are sold.
Having started later in life, she wasn’t always sure of how to make her mark through art, however.
“I started with clay and resin but noticed there were so many talented women sculptors using the same media, so what chance did I have to stand out?” Ms. Organo said in an interview during her exhibit.
The solution to this conundrum was glass casting, since she figured she had always wanted a glass sculpture of her own. Armed with a love of tinkering with things, she set off to find someplace to learn the art.
This led her to the Corning Museum of Glass in New York, known as the most prestigious glass-making school in the world, and later to Kamenicky Senov in Prague, the oldest glass-making school in the world.
“I learned everything I could about glass sculpting,” said Ms. Organo. “But my chosen medium is optical glass, also called crystal, which has a very brilliant shine when polished.”
In Prague, the Shrine of the Infant Jesus was the inspiration for her shining and colorful Sto. Niño collection, now renowned locally.
“There were different Infant Jesus of Prague images in various colors. They were not just clothed in the usual red, green, or gold like the ones in the Philippines. That’s why I did my own version in glass,” she said.
Even as the only Filipino and only woman in the schools she had enrolled in abroad, Ms. Organo made it a point to “push the boundaries of glass-making techniques” to prove her talent.
“I discovered new tools, new shapes that I can make, and I was able to come up with new uses from the tools that I have,” she explained.
“Many people ask me how I’m able to achieve such vibrant color in my glass sculptures, and I tell them it’s my secret recipe.”
“Iridescence” was on view at the Galerie Joaquin in BGC in June. “Glass House,” an exhibit that focuses on Filipino glass sculptures, will showcase some of Ms. Organo’s works at the Modern and Contemporary Art Festival at the Fairmont Hotel, Makati, on July 28-30. — Brontë H. Lacsamana
