He would eventually become a full-time artist. 

In addition to traditional woodcut techniques, Okamoto will sometimes incorporate other printmaking mediums to his works, including silkscreen and the inclusion of gofun powder or gold leaf.

Among these series are "Children of Asia", "First Love", "White Fox", "Clown Series", and "Fossils". As a teenager he worked in a local fishery, and that may have spurred his study of marine biology at Nihon University. Even at High School he was interested in woodblock prints, and after his graduation as a marine biologist, he decided to become a full-time artist.
From 1974 to 1984 he studied with Tōshi Yoshida, who developed a profound respect for him, and who endorsed his work on numerous occasions.

Okamoto’s approach to the theme is complex insofar as he employs opposing topoi: the female as pure and innocent or evil and vile; virgin or whore, simple or incomprehensible, object of worship or subject to abuse.

Okamoto’s women do not have many attributes telling about their lives and personalities. On the other hand, some images employ chiaroscuro modelling and three-dimensionality to build pictorial space – elements which descry the influence of Western realism and link the pictures more closely to modern art.

By calling one of his series “Ukiyo-e Today”, Okamoto links the works in the series to the shunga (“spring image”) tradition of erotic art, yet the images employ different modes of expression and focus on different issues.

Okamoto draws on classical motifs from traditional Japanese landscape paintings, e.g. A few highlights among his exhibition activity would include Scandinavian prizes and prizes won in Denmark, Greece, Italy, and Turkey. His print "Shy Clown" was chosen by the organization as the imperial gift print for Her Majesty the Empress Michiko in 1980. Some images link sex and violence.

The portrayal of female subjects can be considered a driving force in Okamoto’s artistic practice.

These factors indicate that Okamoto is in constant dialog with the past. The national museums of Australia and New Zealand own works by Okamoto Ryûsei.

Okamoto can be called a “traditionalist”: he uses materials and tools that were developed in the pre-modern era, such as woodblocks made of wild cherry wood and hand-made paper made from mulberry-bark fibre; he seeks technical perfection in drawing, carving and printing; his production is the result of collaboration between himself and a professional printing craftsman.

Even in the images depicting sexual intercourse, the male figure is only suggested, he is only a phantom, not a real partner. Though he exhibited an early interest in art, he pursued marine biology at Nihon University. In the previous year (so in 1979) his work was accepted by the prestigious CWAJ prints show in Tokyo for the first time.

Like a traditional craftsman, he enjoys carving the wooden blocks himself, calling this the time for “meditation”, but he also takes advantage of modern reproduction techniques and, instead of woodblock, uses zinc or photopolymer resin plates. As a teenager he worked in a local fishery, and that may have spurred his study of marine biology at Nihon University.

Ryusei Okamoto does all his carving and printing himself, and can truly be called a meticulous and accomplished craftsman.



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