Pearl Bubble Coral
Medium: Borosilicate glass and hot glass
Size of work: 33 x 27.9 x 10.2 cm (approx.)Enquire Whatsapp
About the Artist
Goldie Poblador (b. 1987) uses glass blowing, performance, video, installation, and scent when considering themes of feminism, the environment, and decolonisation as it relates to the body.
She received her BFA in Studio Arts from the University of the Philippines, Diliman, and her MFA in Glass from the Rhode Island School of Design (RISD). Her work has been exhibited at the Singapore Art Museum, Bangkok Art and Culture Center, Museum Atelierhaus Mengerzeile, Lopez Memorial Museum and Library, Metropolitan Museum of Manila, The National Museum of the Filipino People, and The Cultural Center of the Philippines.
Poblador received a grant from the Foundation of Contemporary Arts and a President’s Scholarship from the RISD. Apart from PARP, she has completed residencies at the Wassaic Project and the Hambidge Center and was a visiting artist at the Massachusetts Museum of Contemporary Art (MASS MoCA). She received the Immigrant Artist Mentorship Program awarded by the New York Foundation of the Arts and recently completed an artist residency program at the Corning Museum of Glass.
The Sea Anomaly project brings awareness to two oil spills in the Philippines in the year 2023, realized through a sculptural reimagining of the local sea corals and invertebrates essential to the ecological health of the Verde Island passage. The series is an ecofeminist exploration of these species and shall comprise a multi-sensory installation of glass and sound.
To start this project, Poblador has been working with the Biodiversity Management Bureau in the Philippines and the Corning Museum of Glass in the United States. Offering ecofeminist explorations and perspectives of the infamous Blaschka sculptures from the Cornell University invertebrate collection at the Corning Museum of Glass. In 2023, Poblador worked with the lead conservationist of the Blaschka models at CMOG, where the artist gained valuable insights into how these models were produced, with most of the Blaschka sculptures made in the 19th century. At the CMOG, Poblador specialized in Flameworking, a technique also used to create the original models. The Corning Library documents the Blaschka marine specimens with a dark black background reminiscent of the ocean at night, and the artist experimented with how this can depict the effects of the oil spill by producing the glass black plates in the glass hot shop.
One of the ongoing themes in Poblador's work is the reinterpretation of female archetypes in mythology across cultures. For this project, she incorporated the myth of Magwayen, the Filipina goddess of the sea and death. Poblador envisions her in the reef, persevering against the manmade destruction wrought by capitalism and the colony. In producing the series, Poblador hopes that this project will marry her history as a Filipina artist and the longstanding legacy of the Blaschkas as an act of decolonization embedded through glass works