These works were made in a pandemic, and speak of loneliness, isolation, the pause and the inevitable process of introspection.
This work is monochrome in appearance, and there are no overlapping or competing sets. However, looking closely there is a world of subtleties and tonalities. So, I think they also talk about hope.
The raku chawan teach us how fragile and how strong we can be. Overcome adversity and maintain a purpose.
When incandescents are taken out of the wood fired kiln (hikidashi) at over 1200 degrees, I can feel that primitive energy. It is beautiful to listen to the sound of the thermal shock and the image is hypnotic, white, yellow, orange, red, which then becomes a board that fades to the final black, a fugitive synthesis of mother earth.
我在阿根廷布宜諾斯艾利斯 Lomas de Zamora 的陶藝學校學習，作品曾在多個國家展 出。此外我還創辦了 Encuentro Chawan，一個每年在阿根廷舉辦的陶藝邀請展。我住在 距離茶文化非常遙遠的阿根廷。在製作茶碗這條路上，我獨立自學;但仍要感謝那些與我 分享熱情與經驗的人。
這些作品完成於疫情期間，它們訴說的是疫情帶來的寂寞、孤立、中斷，以及無可避免的內 省過程。
作品外表使用單色，也沒有重疊或衝突 的部分。不過，仔細看還是可以發現千變萬化的調性 與微妙差異。因此，我覺得它也是在傳達希望。
樂燒茶碗讓我們知道，我們有多脆弱、又有多堅強，克服困難並堅定往目標前進。
當發光的坯體從超過 1200 度的柴燒窯中取出(引出)時，我能感受到那股原始的能量。熱 衝擊的聲音聽起來很美妙，畫面則是有種催眠的特質，從白色、黃色、橘色、紅色再逐漸褪 成最終的黑色。那是大地短暫的生成過程。