Questioning our individuality demarcated by physical separation, inspired by the peculiar subjectivity of a translator, my work primarily takes the form of performative actions through which I re-define identity in accordance with overlaps and gaps across different artists, often including myself, in terms of both life and work, and re-embody this new individual with my own existence as a medium or catalyst, stimulating the world to form new relations and connections among and beyond actual events and persons, with art history as a test site for human society at large―all in search of possible forms of self-portraiture and auto-biography based on one's essential plurality.



Yuki Okumura reinterprets recent art history as a site of interpersonal relations and parallel realities.
Okumura’s artistic practice predominantly departs from a kinship with works and lives of other artists, resulting in conceptual, yet deeply personal works presented in a wide array of media.
Okumura assumes a position of an editor and a researcher on the one hand and a medium or a surrogate on the other.
Okumura refurbishes himself in a surprisingly artistic way, opposite the “self-searching”.
Okumura says, "By shuffling identities and names there are many aspects of the physical condition against which I am gesturing," of which economic repression ( he often works with abandoned, forgotten structures) and the property motive ( he takes over an artwork with and without permission from the originator) are but two.
Yuki Okumura is an artist who revisits the history of art and takes various starting points for projects, including interpretations of others’ works, creating art rooted in contemporary art issues such as the nature of authorship and collaboration. Each of his personal yet conceptual projects can be seen as extending chains of events that occur in the course of his intense research
Yuki Okumura is an artist whose practice resembles that of a translator, ghostwriter or mediator, subjectively interpreting, reenacting or sometimes radically rewriting works by other artists that tackle the issue of the artist's selfhood.

奥村雄樹 (1978) […] は近過去の美術史をインターパーソナルな関係性やパラレルな現実の場として再解釈します。
奥村は「身元や名前をシャッフルすることで僕のジェスチャーが相対しているのは、フィジカルな条件のさまざまな側面なのです」と述べていますが、経済的な抑圧( 彼はしばしば見捨てられた、忘れられた構造に取り組みます)や所有権をめぐる動機( 彼は他者の芸術作品を引き継ぐにあたって原制作者からの許可を得ることも得ないこともあります)はそのうちのたったふたつに過ぎません。


Interviews: by Zoe Gray & Devrim Bayar (2015); by Shinya Sugawara (2016); through Gordon Matta-Clark (2017);
by Caroline Dumalin (2019); as Hisashi Yamamoto (2019)