Futamura Yoshimi (b. 1959) creates rugged stoneware works resembling forms in nature and also suggesting a kind of figurative sexuality.

Hoshino Kayako (b. 1945) creates boldly-faceted works with silver luster applied after firing.

Katsumata Chieko (b. 1950) creates works inspired by floral and vegetal forms in vibrant colors.

Kawakami Tomoko (b. 1957).  She creates unglazed stoneware works with textures created by tapping a small rock on the surface of the clay when it is still damp.

Kishi Eiko (b.1948) molds large geometric forms using clay of various colors and then works their surfaces with a needle to create intricate patterns.  The objects are then glazed again to enhance the colors on the surface.

Kitamura Junko (b. 1956) makes more traditional forms but with an unconventional technique.  After throwing her pieces she covers them with black slip.  When they are leather hard, she then carves patterns into the surface.  Once the pieces have been bisque fired, she then inlays the pattern with white slip and fires it again.  The result is dark-gray vessels covered with luminous, intricate patterns.

Kitamura  Tsuruyo  (b. 1957) makes both ceramic sculpture and large sculptural vases distinguished by their intricate forms and highly textured surfaces.   

Koike Shoko (b. 1943 in Beijing, China) was one of the first women to study ceramics at Tokyo National University of Arts and Music.  She is among the best-known Japanese ceramic artists in the West.  Hr large vessels covered with opaque white glaze resemble abstracted shell forms.

Matsuda Yuriko (b. 1943) makes objects that resemble parts of the female body.  She glazes in a manner that is reminiscent of early seventeenth-century overglaze enamels from Imari. 

Mishima Kimiyo (b. 1932) prefers to see herself as sculptor not as a ceramic artist.  She has worked in ceramics but has also worked in oil and as a printmaker and in collage. For over twenty years she has silkscreened images taken from newspapers, magazines, and other everyday objects onto ceramic forms. 

Miwa Hanako  (birthdate undisclosed) creates installations of lotus-shaped forms made using Hagi techniques.

Ogawa Machiko (b. 1946) spent over three years in Africa in the early 1970s, and her experience there influenced the creation of ceramic objects that resemble shards from archaeological digs.

Ono Hakuko (1915-1996) is known for a technique that uses gold and platinum foil in underglaze decoration giving her pieces a luminous shimmering surface combined with intense colors.

Sakurai Yasuko (b. 1969) creates perforated porcelain forms that play with patterns of light and shadow.

Shibata Mariko (b. 1957) creates fragile forms with razor-thin walls penetrated by openings.

Shigematsu Ayumi (b. 1958) creates works that are both beautiful and bizarre, with titles like Ferengi (a Star Trek species) coined after the work is completed.

Takano Miho (b. 1971) considers herself an outsider whose work is influenced by contemporary Japanese pop cultures.

Tsuboi Asuka (b. 1932), one of the first studio potters, trained with Tomimoto Kenkichi from whom she learned how to make carefully crafted overglaze porcelain.  She is an early feminist artist who makes objects dominated by the female form.

Tomita Mikiko (b. 1972) creates shell-inspired closed forms covered with ornate glazes.

Ueba Kasumi (b. 1978, considered one of the most gifted Kyoto artists of her generation, is the youngest artist featured in the exhibition.