[4] Warashina’s work is often humorous, and includes "clay figures placed in imagined environments that show her subversive thinking.
"[5] She uses sculpture to explore such themes as the human condition, feminism, car-culture, and political and social topics.
She began creating a series of figurative works that used humor to skewer this gender imbalance in the field.
[9] During the 1970s and 1980s, Warashina, Sperry, and Howard Kottler ran the ceramics program at the University of Washington's School of Art, growing it into one of the best-known in the United States.
In 2005, Warashina was interviewed for Smithsonian's Archives of American Art[13] which also holds a number of her papers in its collection.