Sanae Kondo believes she “fell into the life of a potter.” Kondo attended university, but after a term of unsatisfactory grades, she returned to her home in Echizen. Feeling a bit lost, she decided to try her hand in pottery. In pursuit of this goal, Kondo studied under Hashimoto Naomi at Echizen Town community Pottery Studio, the studio and production facilities subsidized by the Echizen town government. It was there where she also met her husband, potter Nobuyasu Kondo.
Although Kondo grew up in Echizen, she was unaware of the ceramic heritage of her hometown. Nobuyasu Kondo, at the time a more established potter, introduced her to the numerous pottery approaches found in the area, as well as his former teacher Juroemon Fujita VIII. Initially, Kondo had difficulty distinguishing one style from another until the “day” she attended an exhibition highlighting old Shigaraki and Echizen pots. Seeing the two styles together allowed her to compare their subtle and illusive qualities, thus giving her the sensitivity to appreciate the Echizen ceramic tradition.
Although at first Kondo only considered ceramics for financial means, she fell in love with object making, and it quickly become a labor of love. Through her pursuit of the arts, Kondo also discovered Ikebana (the art of flower arrangement). Inspired by this, Kondo began producing a line of ware specifically designed for Ikebana. Now, when constructing pieces, she imagines
the flowers, the vessel, and the environment where they are displayed. Kondo’s vessels are frequently cylindrical or Bulbous in shape with crisp, angular edges drawing focus to the openings of each form. Some pieces incorporate a reed handle, which suggest the form of a basket. Kondo’s works are similar in color and surface to her husband’s work because they both share the same kiln.