THE GHOST IN THE MACHINE

“The Ghost in the Machine”
by Friday Abbas

“The Ghost in the Machine,” is Goldie Poblador’s first solo exhibition in which she continues to question the universal and spiritual nature of her urban environment and furthers her exploration of pre-colonial pagan beliefs, a recurring concern in her past works.

The exhibition’s central artwork and title piece depicts two female figures facing each other as they are joined together at the breast by ...twisted coils of cloth and cogon leaves as a physical representation of the connection between them. In a feather-like lilac surrounding that separates it from the rest of gallery space, on one side is a small female figure with a bird’s head that portrays the early inhabitants of the Philippines while on the other side is a taller woman of seemingly Caucasian descent that depicts the colonial and post-colonial people of the country. With its shrine-like venerable set up, Poblador is in a way challenging the viewer to meditate within a noisy environment as the gallery is located on a busy street with cars, buses and tricycles passing at all hours as she strives to convey the juxtaposition of nature and civilization with the tranquility within the gallery and the chaos found outside. The Liongoren Gallery itself lends an earthier air to Poblador’s pieces, allowing the viewer to appreciate the role of the natural environment to Poblador’s creation as opposed to the austere and unnatural setting that would have been provided by the more urban styled art galleries.

Another installation, “Cabinet of Curiosities” is inspired from her earlier work, “The Perfume Bar: Collected Memories and Ephemeral Representations,” from the 2009 UP College of Fine Arts exhibition of thesis works and a finalist of the Ateneo Art Awards of the same year. “The Perfume Bar,” a boutique-like environment with delicate glass blown bottles filled with scents Poblador collected or formulated herself that are contextualized with metaphors, such as “Elias,” “Ilog Pasig,” and “Squalor,” to depict an environment or idea that appeals to one’s memories or conscience.

“Cabinet of Curiosities” is a collection of amulets, bones, stones, dried leaves, and small and large bottles each filled with a different type of root, leaf, or flower marinated in water. Wanting to professionally create scents of her own but lacking the knowledge and skill to do so, Poblador was advised to experiment with distillation instead. In the earlier stages of distillation, the artist was successful in creating fragrant water from the distilled plants. Encouraged by her small success, she further researched on preservation of plants (and insects) and her passion for flora grew.

Her small glass sculptures of plants and animals that are each encased in glass, not only as a means of security, but also impart a feeling of having a constant state of preservation within their own pristine space. This could be a projection of the artist’s own appeal to conserve the natural environment. With the small sculptures adjacent to idol heads with the same organic matter growing on the top of it, the artist communicates a pervasive desire for our urban societies to return to a homogenous relationship with nature.

Some of these delicate glass sculptures are similar to Poblador’s previous exhibition, “The Within,” exhibited in 2010 at Picasso Boutique Service Residences. Along with the glass sculptures are preserved plants and insects in glass cases and sculptural light pieces. To describe her previous exhibit, Poblador states that she wanted to create something beautiful and “at the same time encourage a deeper respect for nature.”

The theme of nature versus urban conflict is reiterated in her oil paintings and watercolors which mostly depict weeping females. These works illustrate the artist’s own personal discontent of living in an urban environment and she feels she is, as one piece is entitled, “Not In My Element”.

After a year of intense, even borderline obsessive reflection, Poblador at least finds an answer to some of her questions. She realizes that a 180° turnabout is not what modern society needs but certainly a partial requirement would be for man to once more attune himself with nature.

For this exhibition, Poblador collaborated with Angono artists Charlie Anorico & Associates to make all the white cement sculptures and Randy Caringal (of DJR Frames) who was the only one willing and able to create the glass display cases.

At the exhibit opening, “Flight of the Primal Being” will be staged by performance artist Martin de Mesa accompanied by sound art by Vinty Lava and video art by Denise Castillo. Doors to the performance will close at 8pm.

"The Ghost in the Machine" exhibition opens at Liongoren Gallery on 13 May 2011 and will run until 3 June 2011. Gallery hours are from 10am to 7pm, Monday to Saturday. Visit www.liongorengallery.com for more information or you can send inquiries via email liongorengallery@yahoo.com or call (02)9124319 or (02)4393962.