Porcelain is invariably associated with the Chinese porcelain aesthetic: refined, delicate, serene, elegant, tranquil, in short, perfect. The work of Kato Tsubusa in white porcelain with subtle pale blue celadon glazing, is no less beautiful than traditional porcelain, but much different. Kato’s porcelain sculpture manifests motion, not serenity, adventurous form, not luxurious elegance; it is dramatically sweeping, not refined stillness. A few of his pieces can be put to actual use - - provided one is willing to risk the razor sharp edges and daunting fragility of his "vases" and "platters." Starting from age 21, he has worked exclusively with white porcelain clay.

In this series, Kato has created Moribana that double as sculptures. His intention is that they should always be on display, whether accompanied by natural flora or fauna, or by a white porcelain sculpture in its center. Pay attention to the lip and how it captures the speed of a wheel. Movement and dynamism are unmistakable themes in this series. Each piece was modeled after sightings of the moon during Kato's travels around Hokkaido, capturing its changing nature from different views.

"Showashinzan 昭和新山 moon no. 8" was inspired by the moon as seen from Showashinzan, a volcanic lava dome in the Shikotsu-Toya National Park, Hokkaido, Japan.

Kato accepts the challenge of working with clay in its most difficult, fragile form: long strips of clay supported at only one end. At the apex of the tall triangular body, one long strip reaches skyward and another, almost a continuation, points to the ground, like the outstretched arms of a ballerina. A better comparison is to the art of calligraphy. The long, vibrant strips of clay resemble calligraphic strokes. Energy. Pure energy in clay embodying dashing calligraphy. Kato’s homage to Japanese calligraphy.