Kim Okura (born 1973 in Klagenfurt, Carinthia, Austria) is an Austrian painter, graphic artist, sculptor and object artist.
My works constant preoccupate with creating places of power.
Okura’s artistic position reveals itself in her extensive and multi-layered work, which moves through a variety of approaches and forms and asserts the radical claim of pulsing through individual stagings of single works or cycles of work, rather than bowing to a contemporary decree of submitting work in a linear manner. Her artistic work includes drawings, paintings, graphics, canvas and paper works, objects, sculptures, conceptual art, installations, and texts and poetry.
“The works see themselves as anchors, islands of power and mental relaxation areas.” This is how I described my first Joytrophy cycle.
In the meantime, I am ultimately no longer interested in the mental relaxation rooms in which you end up – but the way there. Or rather, the gates or portal that you use to get into this very personal, intimate place of power. If you look at this process, then it is inevitable that the portal itself (sic!) – must radiate an immense power place mentality in order to take the spirit with you on the journey through the suction effect.
It’s the portals, you can also call them doors, thresholds, gates or crossings, which – as “transport aids” in themselves – are places of power. They transport people into a mental space of power where they can have their own individual, intimate, invigorating, calming, nourishing and possibly even numinous experiences.
The world of consciousness and thoughts and their interaction with the outside world
It’s the internal processes that interest Kim Okura. The practice of successive hunting down and observing. Also recognizing and acknowledging problem areas within as a segue-way to a continuous change process, which, when complete, will present itself to the outside world as a universal victory. Like the principle in the Kybalion “As above, so below; as within, so without,” Okura’s works are a persistent narrative search for the ideal solution to create a better, more humane, and more understanding world.
Kim Okura’s cycles of works often go through a polymorphic parkour of materials as she continues to penetrate deeper into her subject: from sketches to pencil, ink and charcoal drawings, from often complex preliminary studies painted with acrylic on Japanese paper to the ever-larger canvas works in oil. Sculptural chance acquaintances, as Okura calls her “Reborn Objects,” complete each cycle and add a third dimension.
The material itself is not important to Okura, but instead expression, beauty, quality, and a multifaceted representation of the core idea.
