Imagine holding a vessel that appears to have emerged not from a potter's wheel but from the earth itself—split open by geological forces, kissed by volcanic heat, and marked by millennia of stratification. This extraordinary sculptural vase by Yuki Fukushima transcends conventional ceramic form to become a meditation on nature's creative power, rendered through the unpredictable alchemy of wood-firing and the artist's bold manipulation of wet clay. Created at Vanguai Kou-bou in Matsue, Shimane Prefecture, this piece showcases Fukushima's mastery of surface treatment and her willingness to embrace chance as creative partner. The artist, Yuki Fukushima (福島祐紀), comes from a family steeped in ceramic tradition: her sister Emi operates Matsue Toen, continuing their father Kazukuni Fukushima's sixty-year kiln legacy. After formal training at Aichi Prefecture's Ceramic Technical College and apprenticeship in Seto's historic pottery workshops, Yuki established her independent practice where she explores the expressive possibilities of clay beyond functional forms. This vase exemplifies that artistic vision—it challenges viewers to reconsider what a vessel can be when freed from purely utilitarian constraints. Measuring 13 cm in height by 7 cm in width at its widest point, the vase presents a bulbous, gourd-like body that tapers organically toward an asymmetrical neck. That neck—deliberately twisted, angular, and seemingly arrested mid-motion—is perhaps the most striking feature. Rather than a conventional cylindrical opening, Fukushima has formed the rim into a dynamic, sculptural gesture that suggests natural growth: a sprouting seed, an unfurling leaf, or perhaps the irregular aperture of a volcanic fumarole. This organic asymmetry immediately distinguishes the piece from traditional Japanese flower vases while maintaining deep connections to Japan's ancient appreciation for natural irregularity embodied in concepts like fukinsei (不均斉)—the beauty of imbalance. The surface treatment reveals Fukushima's sophisticated understanding of firing atmospheres and clay chemistry. Vertical striations—possibly carved when the clay was leather-hard, or perhaps formed by deliberate faceting during throwing—run the length of the body like geological strata or the ridges of a dried seed pod. These linear elements create visual rhythm while enhancing the tactile quality that makes studio pottery so compelling compared to smooth industrial ceramics. The color palette speaks to extensive kiln experience: deep charcoal blacks and iron-rich grays dominate, punctuated by luminous amber and golden streaks where flame, ash, and minerals collaborated during firing. These warm highlights appear almost metallic, as if bronze had been inlaid into the dark matrix—an effect entirely natural, unrepeatable, and dependent upon precise kiln positioning and wood type during the firing cycle. This coloration strongly suggests wood-firing or anagama kiln techniques, where pieces are exposed to flame and ash for extended periods—sometimes days—at temperatures exceeding 1200°C. In such firings, ash from burning wood (often pine or oak in Japanese kilns) settles on the ceramic surface, melting into natural glazes whose colors vary from white through amber to deep brown depending on ash composition and temperature zones. The golden streaks on this vase likely resulted from ash deposit interaction with iron-bearing clay, creating flashing effects prized by collectors for their spontaneity and organic beauty. No two wood-fired pieces are identical; each bears a unique record of its journey through flame. For contemporary European interiors, this vase offers remarkable versatility despite—or perhaps because of—its unconventional form. Its compact scale and dark, sophisticated palette allow it to function as sculptural accent on a minimalist shelf, juxtaposed against white walls in Nordic-style interiors, or grouped with other organic objects in wabi-sabi inspired vignettes. The piece possesses sufficient presence to stand alone yet complements natural materials like weathered wood, stone, or handwoven textiles. One might display it empty, celebrating its form as pure sculpture, or use it as intended for ikebana—a single branch of winter berries or dried grass would echo the asymmetrical dynamism of that extraordinary neck. Fukushima's approach resonates with the Bizen pottery tradition of Okayama Prefecture, where unglazed stoneware relies entirely on firing effects for surface interest, and with the more avant-garde Shigaraki style that embraces dramatic flame markings and distortion. Yet her work is distinctly contemporary, informed by mingei (folk craft) philosophy that values handmade irregularity, but executed with sculptural ambition that places aesthetic expression above function. This duality—rooted in tradition yet thoroughly modern—defines the most compelling Japanese studio pottery today. The condition is excellent, showing no chips, cracks, or repairs. The surface variations—ranging from smooth blacks to rough, ash-textured areas—are entirely intentional firing effects that constitute the piece's aesthetic identity. Close examination reveals the clay's high iron content through its dark body and metallic lustres. The base is unglazed, displaying the natural clay color and bearing Fukushima's impressed seal. As with all wood-fired work, asymmetry and surface irregularity are intrinsic to the making process and should be appreciated rather than viewed as flaws. The angular neck, while dramatic, is structurally sound—a testament to Fukushima's technical skill in maintaining integrity while pushing formal boundaries. Yuki Fukushima maintains an active exhibition schedule at Japan's premier craft venues: the West Japan Ceramics Festa where she participates in live flower arrangement demonstrations using her vessels; the Yatsugatake Craft Fair in alpine Nagano; and Toki's Mino pottery festival in the historic heartland of Japanese ceramics. These selective appearances mean her work rarely enters international markets, making this piece particularly accessible for European collectors unable to travel to remote Japanese craft fairs. Her growing Instagram following and inclusion in curated exhibitions at venues like Izumo Kanbe no Sato suggest an artist whose reputation is rising beyond regional recognition. This vase appeals to collectors on multiple levels: it functions as contemporary sculpture that happens to be ceramic rather than metal or stone; it demonstrates mastery of challenging wood-firing techniques that require years to control; it embodies Japanese aesthetic principles of asymmetry, natural pattern, and embrace of chance; and it represents an emerging artist whose work bridges traditional craft and contemporary art discourse. The gourd-like form may reference ancient storage vessels or ritual containers—forms that appear across cultures from Neolithic China to pre-Columbian Americas—while the execution is unmistakably Japanese in its restraint, surface sensitivity, and integration of natural processes. For those who appreciate ceramics as sculptural art rather than merely decorative objects—collectors who value technical accomplishment wedded to conceptual depth—this Fukushima vase offers a compelling acquisition. It is a piece that rewards sustained attention, revealing new subtleties of surface and form with each viewing, and carrying the distinctive presence that distinguishes studio pottery from industrial production. Shipping & Handling We ship worldwide via DHL or EMS with full insurance and tracking. Each ceramic piece is carefully wrapped in bubble wrap, cushioned with foam inserts, and packed in a double-walled box to ensure safe arrival; combined shipping available for multiple wins. Local customs duties are the buyer's responsibility. Seller Guarantee We specialise in contemporary Japanese ceramics and guarantee this piece's authenticity as an original work by Yuki Fukushima of Vanguai Kou-bou. Questions welcome—we reply within 24 hours.