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A luminous legacy: Reflecting on Marge Organo's 'A Look into the Prism'
A luminous legacy: Reflecting on Marge Organo's 'A Look into the Prism'
By S.C. Fojas
At A Glance
- What makes Marge's work resonate is how much of herself she pours into the material.
For Marge Organo, a glass is a vessel of clarity, memory, and presence. Her recently concluded exhibit, “A Look into the Prism,” was less of a formal gallery show and more of a personal invitation to see the world through her eyes—a decade of experiments and emotions captured in light. Tracing her path from a student in New York and the Czech Republic to a master of her craft, the collection proved that glass can be as playful as a balloon and as profound as a prayer.
Coinciding with the launch of her first comprehensive monograph, the exhibit functioned as a living counterpart to her book, chronicling her evolution in the art industry.
A decade of living in color
The exhibit served as a summation of Marge’s decade-long journey, marking a milestone that left the artist feeling deeply moved. “I’m very overwhelmed,” she shared. “It’s been 10 years since I had my first exhibit, and I can’t believe I’ve come this far. Aside from the fact that it brings back good memories, it is also a reminder for me to be steadfast in my pursuit of excellence in my future works.”
What makes Marge’s work resonate is how much of herself she pours into the material. While traditional glass sculpture often limits an artist to one color per side, she pioneered a way to layer multiple hues within a s single form.
As she puts it, “I am a very colorful person, and so is my life, and this is reflected in my works.”
This vibrant personality was full on display in “Belle Femme XIX (2025),” a 35.4 cm tall sculpture where swirling ambers and oranges dance inside the glass, mimicking the internal emotional landscapes Marge seeks to articulate.
Sparkling reinventions: The balloon dogs
One of the most relatable and talked-about highlights was Marge’s “Balloon Dog” series, inspired by the pop art of Jeff Koons. While these figures are often associated with shiny metal or plastic, Marge felt they deserved a more coveted treatment.
“Jeff Koons’ balloon dogs are very lovely. I find them so attractive and pleasing to own,” she noted. “But they have always been made of either shiny metal or shiny plastic/resin. I thought of giving them the sparkle and brilliance that glass brings, a treasure worth keeping.” These playful yet technically gruelling works, titled “Danube (2025),” “Sunshine (2025),” “Nelson (2025),” and “Bruno (2025),” translated the playful figures into technically demanding glass forms that radiated a newfound visual humor.
Meditations in light
The exhibit also featured a quieter, more contemplative side of Marge’s practice through her Marian-inspired series. Rather than traditional religious statues, these works are sculptural meditations that use the natural transparency of glass to represent the spiritual luminosity.
“Queen of Heaven & Earth 4 (2025)” is a 40-cm tall piece that transforms the silhouette of the Virgin Mary into a radiant vessel of blue and emerald.
One of her most requested themes, the “Sto. Niño LXXXIII (2025)” is a 46.7 cm tall work that features intricate gold leaf patterns and a solid green base, reframing a familiar symbol as something quietly radiant.
Held from Nov. 23 to Dec. 5, 2025 at Galerie Joaquin Rockwell, “A Look into the Prism” invited the viewers to look through the glass and consider the various perspectives it allows. Ultimately, Marge left her audience with a renewed sense of wonder, encouraging them to look slowly and closely at the world—much like her glass—to find the vibrant, luminous beauty that lies within.