Often found in twentieth-century works, the interest in the surface of a ceramic, and in defying the shape of a vessel, can be traced to the stress on the handmade and the immediate that first surfaced in movements such as Arts and Crafts in the West and the folk art (mingei) in Japan. The extraordinary sense of movement in this vessel, and the way in which the interior and exterior join seamlessly, are typical of Sakiyama’s work, which often alludes to the rugged seacoast near his home.
