Osumi's work is characterised by gracefully proportioned forms and generously flowing surface patterning executed in 'textile-imprint-inlay' (J: nunomezogan). This involves hammering metal leaf or wire into a fine, mesh-like grid incised into the surface of the metal ground. On this particular work she has used lead and gold in the rendering of an abstract pattern that swirls around the vase in the opposite direction to the spiral faceting. This gives stability to the overall composition while providing colour and a sense of energy and drama. After the inlaying had been completed, the vase was pickled black and then polished so that just enough of the patina remained to show off the intricate texture of the hammered surface. The bright, unpatinated bands bordering the areas of lead inlay are the natural outcome of the way in which the presence of lead prevented the blackening of the silver in the patinating bath.