Ottokaji Iroke

Dear viewers,


It is not a studio situation but also can be a studio situation. 

It is very much about my 'flowable' position as a young artist from abroad.

Something happens, and some left, and some gone. 

It is nomadic which is ready to go, but at the same time, ready to show and still big ironically.

By using an oxymoronic setting,

he is talking about relativity with visuals which is questioning where it is, what it is.

Very basic questions as a human before being a painter.   


His position is like a flying dot in space. That is what makes art alive from his eyes. A relation between his life and his art, the relation between a mark on a painting and the other marks, relation between an object on the ground with the given space and the relation between myself and you, etc. In that sense, it is consistently expanding its relations. He presents the interconnection of infinite and definite moments using visuals and audio. Painting is one of the most crucial elements for this since he sees every incident in this world as a collection of dots on a graph, which means that default points maybe do not exist. As time is ticking, your location is always changing relatively, even though it seems like the same position, it is not. In that sense, painting is also a moving creature. Suggesting arts to the viewers in the given space as a human being is a kind of a counter-attack to this gravity because it is opening a portal by adding up one more axis to this 4-dimensional reality. It is magical and honest. He says that in visual suggestions, oxymoronic moments has to be there for the viewers which are calm but strong. Space, colours, texture, materials, and the accumulation of his daily life are all inter-connected with and without orders. He dreams of the world without direction. Thus, methodologically, he intentionally adapts contrasts in his practice, for example, light and heavy materials, bright and darkness, personal and non-personal objects respectively together to draw a thin line between intention and non-intention, which is also subjective and relative. For him, this is for giving a space for the viewers to imagine and reflecting themselves in the given experiences. It is dimensional.

Ottokaji Iroke (1989), lives and works in Groningen, NL from Seoul, Korea

Frank mohr institute  (Groningen, NL)            Painting                                      M.F.A          2020

Hongik University   (Seoul, Kor)                          Painting, Graphic design    B.F.A           2017

+31 682212476

© 2021 By Ottokaji

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