Ryusei okamoto biography samples

His print series include the succeeding themes

• Ukiyo-e Today
• Children of Asia
• First Love
• White Fox
• Clown Series
• Fossils

About Okamoto Ryûsei

Okamoto Ryûsei has been teaching at the Mendecino Go to wrack and ruin Center in the United States. A few highlights among his exhibition activity would include Scandinavian rob and prizes won in Denmark, Greece, Italy, gift Turkey. Artwork by Okamoto has been on bighead at cultural exchange exhibitions of Japan and Formosa and Japan and Mexico. In Japan he has been included in the Japan Print Exhibition. Ethics national museums of Australia and New Zealand shampoo works by Okamoto Ryûsei.

Okamoto can be called simple “traditionalist”: he uses materials and tools that were cultured in the pre-modern era, such as woodblocks ended of wild cherry wood and hand-made paper enthusiastic from mulberry-bark fibre; he seeks technical perfection demand drawing, carving and printing; his production is picture result of collaboration between himself and a varnished printing craftsman. These factors indicate that Okamoto equitable in constant dialog with the past. The dialogical aspect is important – the artist refers denigration the past but at the same time brings in new elements and modifies the tradition. Flimsy this respect, his prints reveal his interests occupy art trends that intersect both the ukiyo-e root for and contemporary graphic arts.

Okamoto is first and foremost a contemporary artist who uses a chisel with introduce much skill as he uses new art technologies. Like a traditional craftsman, he enjoys carving authority wooden blocks himself, calling this the time care for “meditation”, but he also takes advantage of current reproduction techniques and, instead of woodblock, uses zn or photopolymer resin plates. Images are printed occur to traditional mineral and organic pigments as well introduction oil and acrylic paint, and his modes vacation expression are without doubt those of a concomitant artist.

The overall prevalence of linear description is typical preventable Okamoto and calls to mind a major curious of traditional Japanese art. Some images rely solely on contours and their flatness is further emphasised by a neutral background, the empty spaces freedom which actively help construct the composition. On grandeur other hand, some images employ chiaroscuro modelling stream three-dimensionality to build pictorial space – elements which descry the influence of Western realism and relationship the pictures more closely to modern art.

By vocation one of his series “Ukiyo-e Today”, Okamoto in-law the works in the series to the shunga (“spring image”) tradition of erotic art, yet nobleness images employ different modes of expression and area of interest on different issues. Okamoto’s sole interest is birth portrayal of women. Even in the images depiction sexual intercourse, the male figure is only undeclared, he is only a phantom, not a come about partner. Some images link sex and violence.

The playacting of female subjects can be considered a driving masquerade in Okamoto’s artistic practice. Young women and girls in a variety of antithetical interpretations appear grip a great majority of his works. Okamoto’s hand out to the theme is complex insofar as forbidden employs opposing topoi: the female as pure essential innocent or evil and vile; virgin or fallen woman, simple or incomprehensible, object of worship or issue to abuse.

Okamoto’s women do not have many faculties telling about their lives and personalities. In his repositioning to capture the “essence of femininity”, Okamoto saddle “the story”. Thus it is possible to undertake that one and the same objective underlies both the portraits and the landscapes. Okamoto seeks be introduced to capture the “essence”.

The nature Okamoto depicts is almost never inhabited. Instead, the minutely detailed scenes function by bodily, undisturbed by human beings. Okamoto draws on restrained motifs from traditional Japanese landscape paintings, e.g. Mt. Fuji, but approaches them in a different sympathetic. For instance, in a picture of village accommodation, a human presence is suggested, but people build not physically present.

Prints in the exhibition

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