The art critic, curator and ceramics scholar Kenji Kaneko commented about Suzuki Osamu's making process:

“Whether depicting a horse or a bird, these works were clearly not made by forcing the material to follow a fixed archetypal model. To clarify, we can say that he began by imagining a form shaped by his past observations of the animal. He then carried that image into the process of building with clay, where the imagined form gradually changed and merged with the act of construction.”

— Translation of an excerpt from Japanese, Kenji Kaneko, currently the Director of the Ibaraki Ceramic Art Museum, from"The Formative Thinking of Osamu Suzuki in the International Scene of Studio Crafts"

It is clear that Suzuki Osamu developed an influential sculptural philosophy grounded in the idea that form reveals itself during creation and thinking. This approach led Suzuki to formulate an influential aesthetic theory called Deishō (泥象), a term he coined to articulate the tension between appearance (象, “what the eye sees”) and mental conception (像, “what the person envisions”).

For those familiar with Suzuki Osamu's work, this sculpture represents an important and impactful aspect of his oeuvre.