Carmina Miana is an Ottawa-based interdisciplinary artist whose work spans ceramics, fibre soft sculpture, photography, and stop motion animation of these materials. Born in the Philippines and raised in Scarborough, her art is deeply influenced by her Filipino heritage and lived experiences of marginalization.

Miana's practice explores the intricate relationships between care and sacrifice, history and change, often focusing on the Filipino diaspora experience. Her work examines the complexities of identity, memory, and community, inviting viewers to engage with themes of transformation and belonging.

Carmina Miana's current series "hataw, Binakael" is an exploration of cultural connection and the concept of home. Crafted from 'test' cyanotypes produced across various Canadian cities in the last three years—primarily Toronto, where she spent most of her life until the latter part of the pandemic, along with visits to in-laws in Vancouver and establishing a home in Ottawa—these works interweaves Filipino weaving traditions with her personal experiences of pregnancy and motherhood. It engages with quilting and collage methodologies of upcycling while drawing inspiration from a protective Filipino weaving pattern believed to confuse evil spirits and symbolize the belly button of a pregnant woman.

Language and translation play a crucial role in the piece, as reflected in its bilingual title: “hataw” (Tagalog for "to hit" or "strike") and "Binakael" (Ilocano for "to make whole/to complete"). This reflects Miana's playful engagement with Filipino dialects, which she feels has diminished over time, specifically with the latter being her family's true mother tongue. She understands "hataw" in its colloquial use as "give your best shot," which also relates to the categorization of weaving patterns as an overshot structure. The quilted works itself translates this traditional weaving pattern into a craft suited for Canadian winters, prompting questions about culture's influence on identity and belonging.

Cyanotypes' lightfastness, particularly when exposed to direct UV light, and the work’s shift from cloaking a body to being displayed on a wall create tension between the work’s physical vulnerability and visibility. This mirrors the artist's experience of cultural identity changing through generations, inviting reflection on cultural transmission and legacy.

Through her art, Miana reflects on the cultural hybridity she embodies. By delving into the histories embedded in materials and the tensions between tradition and change, she offers a nuanced perspective on the immigrant experience and the complexities of cultural identity in contemporary society. Miana's work bridges gaps between art, design, and craft, emphasizing tactility and material meaning to critique female labour, care and duty.