[3] Okore's work frequently uses flotsam or discarded objects to create intricate sculptures and installations through repetitive and labor-intensive processes.

[4] She learnt some of her intricate methods, including weaving, sewing, rolling, twisting and dyeing,[5] by watching local Nigerians perform daily domestic tasks.

[16] Okore's art was subsequently influenced by visual characteristics of the Nsukka environs, such as dilapidated mud adobe houses with zinc roofing, piles of firewood accumulated against a broken structure, traditional clothing, concrete blocks, market wares, and rugged terrains.

[17] Growing up in a tropical environment where decay and rebirth were integral to the way of life, she also had a strong fascination for lifeless materials in nature, including rocks, tree bark, detritus, and skeletal forms.

[19] These cultural experiences have contributed to how she addresses subjects spanning environmental issues to the embodied connectivity to material things, people and natural forces in her works.

By her third year, Okore began experimenting with some unusual materials on canvas, such as leaves, jute fiber, cloth, sticks, shredded photographs, broomsticks, recycled paper, and leather, among others.

[29] Okore has participated in over 120 solo and group shows combined, across local and international venues in Asia, Europe, North America, Africa, and the far east.

In 2012, Okore received a Fulbright Scholar Award, which enabled her to travel to Nigeria for a year-long teaching project at the University of Lagos.

During her one-year stint, she produced a new body of eco-based artworks and introduced students to environmental art concepts that focused on nature-centered processes, materials, and sites.

[15] Okore uses a "flora" (flower) motif or symbols repeatedly throughout her work to capture themes of death and fragility, as well as the essence of rebirth.

Through manually repetitive processes, Okore's works reveal the complex and distinct properties of fabric, trees, topography, and architecture.

Okore engages in a slow, arduous process of weaving, dyeing, winding, and teasing materials like burlap, wire, and paper, sometimes sourced from West Africa, to create dramatic textile installations.

[54] More recently, Okore's environmental practice has expanded to include the creation of bioplastic artworks made from food waste, such as mushrooms, onion, orange, and banana peels.

Okore seeks to catalyze interconnections between human and nonhuman subjects in ways that go beyond simply extending her material practice with waste to calling attention to sustainable living.

[50] Okore regularly takes trips home to Nigeria, as a way of staying connected to her Nigerian memories of the environment and culture that inspires much of her work.