For centuries, wood-fired pottery from the "six ancient kilns" in Japan (Tanba, Bizen, Echizen, Shigaraki, Tokoname, and Seto) helped cultivate a quiet aesthetic sensibility and appreciation for simple unadorned beauty. The pottery center of Bizen produced many exceptional ceramists and more Living National Treasures than any other historic pottery areas. This luminous heritage offers great inspirations for contemporary ceramists, but at the same time leaves an enormous legacy for them to live up to. Traditionally, Bizen pottery is made for use. Blessed with a good local clay that turns brilliant red after firing, historically Bizen ceramists emphasized firing effects yet adhered to functional conservative forms. It is a challenge for Bizen artists to innovate without risking disconnection from "Ko-Bizen" (old Bizen) tradition. Hiroyuki Wakimoto is a notable exception who successfully integrates creativity with the Bizen tradition.

Born in 1952 in Tsushima, Nagasaki Prefecture in Kyushu, Hiroyuki Wakimoto received art training in textile design in Osaka Art College. In his senior year, he decided textile design was not his interest and left the college. While visiting a friend who was doing an apprenticeship in Bizen, Wakimoto found his true calling in Bizen-yaki. He began an apprenticeship under George Yamashita, an accomplished ceramist who studied under Living National Treasure Jun Isezaki. Nine years later, Wakimoto established his own kiln and gradually built a reputation as one of the most distinctive artists in Bizen.

With a great interest in forms and training in design, Wakimoto creates some of the most interesting works in contemporary Japanese ceramics. His works are instantly recognized by bold, sophisticated forms with clean lines and beautiful fire markings. What sets Wakimoto apart from many of his peers is his ability to produce an astounding body of innovative work without abandoning the cultural connection of this art form. Recalling the evolution of his style, Wakimoto said, "In the beginning, I cared too much about making my work unique, my hands struggled with the clay. Then one day, I set my hands free to express my feelings without thinking too hard. From that day, my work became spontaneous."

The Achilles heel of many innovative wood-fire ceramists is in their firing techniques. In this respect, Wakimoto’s mastery of the firing process is legendary. He does a 14-days firing once a year in a three-chambered noborigama (climbing kiln) that holds up to a thousand pieces, representing his entire year’s work. This working style requires extraordinary confidence and impeccable technical expertise. He keeps detailed records of every firing, including data on temperature and the exact position of every piece in the kiln. Wakimoto's meticulous approach and technical excellence allow him to carry his artistic visions to fruition.

Wakimoto has won many prestigious awards in his career, including the Grand Prize of Yakishime Exhibition. In 2002, his work was first exhibited in America in Touching Stone Gallery. The show was enthusiastically received. Two years later, he was invited by the New Mexico Museum of International Folk Art to show at the International Folk Art Market. During that visit, Wakimoto toured several ancient Anasazi Indian ruins in the area. That visit further broadened his interest in ancient forms. His recent works include many interesting forms that might have been inspired by that experience. Wakimoto's untiring quest for new ideas is possibly the most important attribute of a creative artist, a quality that may ultimately distinguish art itself from craft.