He learned to use the VHS player when he was barely a year old. There, almost automatically, tapes filled the screen every morning. Dragon Ball, Ranma, Dr. Collapse — they entertained him and sparked his curiosity. He began trying to reproduce those images on paper in his own way. What he could not have imagined was that this simple childhood act would grow into a cornerstone of the remarkable success he enjoys today, especially in Japan and Hong Kong. In Spain, his stage name remains little known.
On the Asian Continent, Okokume is regarded with great respect: he fills rooms, sells hundreds of artifacts, fills stalls, lines up fans, and opens cafes dedicated to his characters. “I left the comfort of a stable job to devote myself to things that fulfill me. The effort and perseverance paid off,” he says with pride. The numbers on his resume speak loudly: 27 group exhibitions, seven solo shows, and seven international fairs.
Although the path to art was clear from childhood, Laura studied something unrelated to painting. Time and a few disappointments redirected her toward art, and she graduated from Llotja School of Design and Art in Barcelona, where she refined her wrist movements. “I am quite free and cheerful. The color palette I use makes me easy to recognize,” says the artist, who is currently exhibiting in Paris. With a naive streak and a bold spirit, Okokume began his career painting women in kimonos with holes in their faces.
From a modest starting point, this movement emerged in the 70s as an art claim that did not align with academic conventions.
The galactic and apocalyptic vibe gradually loosened until the artist found his signature character, the cosmic girl. She is a pink-haired, turquoise-skinned soul on a mission to travel the universe and highlight the importance of environmental protection. This character also mirrors the artist’s own emotions and feelings. “It is my alter ego that steps forward to tell the stories I want to share. Its innocent look allows the message to reach audiences of every age and gender,” the creator explains. The project recently reached a five-year milestone. “I am trying to address issues that worry me while also carving out space for topics that deserve broader attention.”
All of this traces back to a movement that began in the 70s, born from a humble stance that challenged traditional art schools. Major references include Tara McPherson, Mark Ryden, Gary Attendant, and Tomer Hanuka.
As for the link to anime, it is unmistakable. The connection to Japan runs deep. The artist traveled to Japan after to trying his luck in Spain, Germany, Australia, and the United States, and his ventures yielded remarkable results in recent auctions. Part of the credit goes to JPS. “I began collaborating with this gallery in 2017. It started in Hong Kong with the biggest exhibitions of my career at venues like K11 and Landmark. Later they opened another location in Tokyo.”
Accessing the Asian market proved challenging yet rewarding as its popularity surged from the first fair, growing rapidly. In just three years, the artist conquered Art Central, one of the continent’s most prestigious fairs, and momentum built toward a return the following year.
A themed pop-up cafe
Laura’s momentum extended beyond exhibitions. She landed a spot among the hundred most influential artists in a prominent publication. In August 2019, Cosmic Girl Cafe opened in Tokyo’s Harajuku district. “The opportunity to establish a cafeteria around my character was surprising and exciting,” she recalls. The launch featured merchandise and limited-edition toys designed by her, all sold in a few hours.
In Spain, her name is spoken mainly in niche circles. Why the disparity in reception? “There is no single explanation. It is difficult to break into the Spanish market as an emerging creator because opportunities are limited. Many authors prefer to collaborate with colleagues to begin their ventures,” the painter notes. Her first group show happened in a small Bilbao gallery, followed by a Barcelona solo show not long after.
“The small circle here makes it hard to gain entry; you need a name first. In Asia, there is a constant demand for fresh talent, culturally rich and always evolving.”
People running away from home
Okokume embraces new techniques and formats without reservation. He lives fully and is always seeking new ways to tell his stories. “For a solo project, I start with a central theme that links ideas. For a fair, I shape the pieces with a clearer purpose. After the concept is clear, I sit with it to make an impression on the computer,” he explains his process.
Many initial sketches become the final work, while others spark a new wave of ideas to revisit later. “A lot of drawing happens on the tablet these days. I test ideas quickly and then move to the medium I choose.”
And the muses? “Music matters. I need rhythm and melody when I pick up a pen or brush. Inspiration often comes while watching a movie or studying another artist. A compelling article can pull thoughts onto a canvas. The urge to express grows strong,” he says. Lately, there has been a push to give voice to those who have fled their homes.
Yet progress on the social front remains limited. “Society often seems indifferent and fails to look beyond immediate concerns. News is treated as information rather than a call to action.” This reality frustrates him, but it also fuels his resolve to draw and condemn injustices, to print what can be seen and felt. The front remains pink and turquoise as a signature stance.