#JOYTROPHIES – symbols flügelhebender memories
JOYTROPHIES – A cycle of works about great and small pleasures, memories and their quintessence.
We often chase after the wrong things. In other words, we collect material successes such as hunting trophies and demonstratively place them in the display windows of our lives.
In doing so, we often forget about the things that really make us feel happy and complete and give us inner peace. These fulfilling moments were given space with Okura’s cycle of works TROPHIES. Colorful, positive, energetic platforms for memories. The works serve as anchors, force Islands and mental rest areas.
The impetus for the TROPHIES cycle was on the one hand the rule of life “Collect moments not things” as well as the social-philosophical examination of the topic “collecting.” An essential pursuit since the beginning of human history.
Visual inspiration came from hunting trophies, stretched animal skins and fur rugs. Prepared ornamental and collector’s item, the volumes speak to the attempt to capture a unique and unforgettable moment in life.
A passion that in some ways often creates suffering. Not with hunters themselves, but with the object of desire or, in addition, with the silent observers of various hunting photographs. Just think of the pictures of the animals shot on hunting safaris in Africa alongside the individuals posing proudly next to them.
Not so in Okura’s TROPHIES cycle. The painting’s background becomes animal skin. Defleshed, salted, washed, yet unsmoothed, stretched on wooden frames and prepared for tanning. Like the processing of furs and skins, the object images also undergo a process during their creation which resembles that of leather and coat processing in its intensity, conciseness and attentiveness.
This skinned memory, reduced to its existence, playfully caresses various mirror neurons and opens subtle power packs and energy reserves in its symbiogenesis. Holistically ready to survive eternity as an individual memory. Collecting becomes an ethical offer for a contemporary and joyful resilience and survival strategy.
The stencil-like outlines of the “Großb(W)ildhäute und Hasen Objekt Bilder” are reminiscent of thoughtful consideration, skins and animal furs prepared for tanning on tenter frames. The still virginal fine silverpoint shading of the hares’ skins enhances the envisaged fur look. The colorful and structure-intensive Okura style of the object pictures enters into emotional interaction with the viewer, moves through reflection and demonstrates elaborate pareidolia.
workingtitle: HASEN 2017 (RABBIT)
mixedmedia, acrylic, silver pen (99.99%), oil Base pen on simili japon (ivory white) on Hahnemühle real hand-made (Echt Bütte) watercolour board (creme, 300g), metal eyelets, special cotton yarn (triple waxed), clamping frame: walnut light (pine tree, varnished), verso mail suspension: steel, hardwear (eyelets, folding eyes, chair angles, brass-plated steel
73.6 x 58.5 x 2 cm, monogrammed and dated (2017) verso: workingtitle, signed, dated (2017), Mojo
Die Arbeiten im Werkzyklus TROPHÄEN sind alle nur mit ihrem Arbeitstitel bezeichnet. Sie können, je nach Belieben, von ihren neuen Besitzern (Erstbesitzer) personalisiert bzw. mit einem individuellen Titel versehen werden. Gerne wird dieser auch im KIM OKURA Werkkatalog ergänzend eingetragen.
The works in the cycle TROPHÄEN are all designated only with their working title. They can be personalized with an individual title by their new owners (first owner). This title will be listed on request in the catalogue raisonne.