日本ではピロンタン名義でエロマンガを、オーツカヒロキ名義で少女マンガを執筆。両ジャンルともにスタイリッシュな絵柄とエッジの効いたギャグで注目される。2002年よりNYに拠点を移してからはマンガをモチーフとした作品で世界各国でソロショウを開催するなどアーティストとして活躍中。コミカルなものからセンシティブなものまで幅広い表現を得意とする。

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A professional Manga artist since 1994, Japanese artist/illustrator/writer Hiroki Otsuka honed his craft drafting and inking comic book cells for a variety of projects, and illustrated for a number of major Japanese publications through 2004. After his move to New York City, Otsuka's focus shifted from graphic to fine arts, working predominantly with traditional sumi ink used in Japanese calligraphy. His debut solo show at Brooklyn's Stay Gold Gallery in 2005 prompted The New Yorker to write that his works "push the populist youth quotient through the roof." Since then, his work has appeared in galleries throughout the United States and Japan and has been featured in international art fairs in New York, Tokyo, and Basel, Switzerland. He's been exhibited at major art institutions such as The Museum of Contemporary Art, Los Angeles (Nothing Moments, 2007) and in academic settings such as Pittsburgh University Art Gallery (Making Faces: Depiction of Women in Japan from Edo to Today, 2009). In 2007, Hiroki Otsuka was featured in Japan Society’s centennial exhibition Making a Home, curated by Eric C. Shiner, which highlighted 33 Japanese contemporary artists living and working in New York. In 2010, Otsuka served as Japan Society's first-ever manga artist-in-residence during the exhibition Graphic Heroes, Magic Monsters: Japanese Prints by Utagawa Kuniyoshi from the Arthur R. Miller Collection. Berlin's Kunstraum Richard Sorge held a major exhibition of Hiroki Otsuka's paintings and murals (Everything to More, 2009), and Bushwick's Wayfarer's Gallery has showcased more recent work (Men and Cats, 2017). Otsuka also provided the integrated illustrations for choreographer Jeremy Wade's critically acclaimed multimedia dance there is no end to more, which had its world premiere in New York.