Exhibition introduction

The textiles and ceramics presented here are meditations on wa - a humbling gratitude to nature, the continuum of time and transformation. The process of making ceramics and textiles are from different worlds but are related in terms of unpredictability, needing constant study, and it has many conditional elements that rely on nature to “cure” the work. 

The ceramic works are mainly tea bowls and other utensils used in The Way of Tea. Wheel thrown or hand-built in the manner of the great Koetsu. These were not made alone in a studio. All of these pieces were fired in community kilns. The kiln, once fired is a sentient being needing wood for fuel. One can sense it breathe, burp, gasp. It needs constant care for a week or longer. At the end, with everyone exhausted from the labor, what comes out is an unpredictable beauty of nature that humbles one to the craft of making these works.

The textiles are private meditations on time and being still here. Whereas tea bowls are hand-held monuments with a sense of permanence, textiles are in their very nature are fleeting. Using natural materials, some with incredible historical pedigrees, will fray, fade and change over time. What colors you see now will not be the same over time. 

I am grateful to the Mendocino Art Center, Cider Creek Collective, Cobb Creek Art an Ecology, and Okidoki Studio.

Artist Statement

My art practice is encyclopedic rather than serial. As a bridge builder to many cultures I inhabit, the work points to exchange, reciprocation, and return - from the Philippines, Japan, and the United States. Visually and culturally crossing bridges, I negotiate, acknowledge, and reveal he hurts in history, recognizing absences and gaps and consciously translating and mistrans-lating systems and forms to create new subjectivities.

My tea training in the Urasenke school of tea, where I have been practicing for 15 years, informs my work. What I appreciate about my ongoing exploration of tea culture is the pervasive interconnections between artwork genres. As a tea student, I am encouraged to dig deeper into several interests, and my work has become that—moving from one medium to another while linking narratives.

Materials vary from textiles, garments, clay, and paper. I have been practicing as an artist for over 25 years. I went to an art academy with a conceptual bend, heavy on social and race theory, but I go back to my earlier education and crafts training in the Philippines. I find working with my hands as a form of inheritance passed on to me. Through osmosis, indirect learning within my community thatI learned how to sew, weave and shape bamboo.

Cirilo Domine

展覽介紹

 這裡所展示的紡織品和陶瓷是對「侘」的沉思——對自然、時間的連續性和轉變的謙卑的感激之情。 陶瓷和紡織品的製作過程來自不同的世界，但在不可預測性方面是相關的，需要不斷的研究，以及依賴自然來「治癒」作品的條件因素。

   《茶道》中的陶瓷作品主要是茶碗等器皿。用手工拉胚、拋擲創作，是按照偉大的「本阿彌光悅」的方式。 這些不是在工作室單獨製作的，所有這些作品都是在社區窯爐中燒製的。 窯爐一但開窯，就是一個需要木材當燃料的有情生物。 人們可以感覺到它在呼吸、打嗝和喘氣。它需要一周或更長時間的持續守窯護理。最終，在每個人都疲憊不堪的情況下，出現的卻是一種不可預測的自然之美，讓人對製作這些作品的手藝感到自身的謙卑。

   這些紡織品是對時間的私人沉思，至今仍留在這裡。茶碗是具有永恆感的手持紀念碑，而紡織品本質上是短暫的。 使用天然材料，其中一些具有令人難以置信的歷史血統，它們會隨著時間的推移而磨損、褪色和變化。 隨著時間的推移，您現在看到的顏色將不再相同。

我感謝門多西諾藝術中心、Cider Creek Collective、Cobb Creek Art and Ecology 以及 Okidoki Studio。

創作理念

我的藝術實踐是廣博的，而不是順序的。 作為我所居住的多種文化的橋樑搭建者，我的作品指向交流、互惠和回歸——來自菲律賓、日本和美國。

在視覺和文化上跨越橋樑，我交涉對話、認知和透露歷史上的傷害，認識到不存在和隔闔，並有意的轉變藝術系統和形式，以創造新的主體性。

我在裏千家茶道接受的茶道學習、訓練（我已經在那裡練習15 年了）為我的工作提供指導。 我對茶文化的欣賞之處和不斷探索在於藝術流派之間普遍存在的相互聯繫。 作為一名茶專業的學生，我被鼓勵更深入地挖掘多種興趣，而我的工作也變成了這樣：從一種媒介轉向另一種媒介，同時故事的連接與敘述。

材料多種多樣，包括紡織品、服裝、黏土和紙張。 我作為藝術家已經執業超過 25 年了。 我進入了一所概念偏向的藝術學院，注重社會和民族理論，但我又回到了在菲律賓接受的早期教育和手工藝培訓。 我發現用手工作是一種傳承給我的遺產。 透過在社群內的滲透和間接學習，我學會如何縫紉、編織和塑造竹子。

悉璃鑼 多米內