In anticipation of Tim Okamura’s upcoming solo at Yeelen Gallery, Miami this December, we take a look at his most recent portraits of empowered African-American women. We last featured the British-Canadian-Japanese artist’s work in 2011, around the time of his “Bronx Brooklyn Queens” exhibition, which presented women of the NYC landscape who daringly transcend stereotype. Stylistically, his new pieces are hyper realistic yet also gestured and unconventional. Okamura’s use of contemporary aesthetics and materials, as in his collaborations with fellow urban artists, and personal symbolism uniquely connect each piece to the artist. A self described outsider, Okamura brings what he calls “misfits, outcasts and weirdos” to the forefront. His choice of subjects also raises a social issue that is important to him, such as the lack of African-Americans represented by New York galleries. His paintings still empower his female subjects, while bringing them up close and personal emotionally. Embracing who you are, combined with a decided sense of drive and ambition, is at their core. Strong, confident and independant, they are also soulful, self aware, and elegant.
"I think my aesthetic is kind of a mash-up: realism, graffiti, stencil art, and some moves inspired at times by abstract expressionism," shares 
In Tanzania, people born with Albinism (a rare condition, in which a person lacks the pigment that gives skin, hair and eyes color) are believed to be ghosts or bad omens. However, their body parts are highly prized by Shamans, who use arms and legs, genitalia and blood, to make potions intended to bring wealth and good luck. Artist 
Born in Canada and based in Manhattan, 
Portland-based Korean artist