JAPAN・MIYAGI・IWANUMA Birthplace

1993　　　Born in Iwanuma City, in Miyagi prefecture.

2014　　　Department of Art Education in Miyagi University of Education （enroll）
「ZAISENTEN」（The Miyagi Museum of Art・KENMIN GALLERY）Best Award（～’15）

2015　　 「BANSUI GALLER WINE LABEL KOMPE」 Ⅵ（BANSUI GALLERY）〔MIYAGI・SENDAI〕
「ROUTE13」（The Yamagata Museum of Art）

2016 　 「ZAISENTEN」（The Miyagi Museum of Art・KENMIN GALLERY）（～’17）

2017 49th Graduation Exhibition in Miyagi University of Education
（The Miyagi Museum of Art・KENMIN GALLERY）
Department of Art Education in Miyagi University of Education （graduate)
Master’s course of Art Education in Miyagi Graduate School of Education （enroll）
　　　　　Special summer instructor in AOBA ART SCHOOL（AOBAGASO）
　　　　 「HIROMU KONNO Solo Exhibition Color Inversion Exhibition―Disturbance of vision」
（Epic view・ABUKUMA GALLERY）〔MIYAGI・IWANUMA〕
「KOMOREBITEN」Group Exhibition（artist-run place SARP）〔MIYAGI・SENDAI〕

2018 「FM IWANUMA SATELLITE STUDIO Group Exhibition」〔MIYAGI・IWANUMA〕
　　　　 「CHARITY OKATUISI ART EXHIBITION」（Café＆Gallery GARE）〔MIYAGI・SENDAI〕
　　　　 「SENTOIROTEN」（Epic view・ABUKUMA GALLERY）〔MIYAGI・IWANUMA〕
RIAS ARK MUSEUM OF ART COMPETITION「LANDSCAPE of N.E.Vol.5」Best Award
　　　　　RIAS ARK MUSEUM OF ART PUBLIC COLLECTION（RIAS ARK MUSEUM OF ART）
　　　　　The University of Miyagi University of Education President’s Award
「31th Japanese Nature Painting Exhibition」（The Ueno Royal Museum）〔TOKYO・UENO〕
　　　　　31th Traveling Exhibition（Sendai Mediatheque）〔MIYAGI・SENDAI〕
「HIROMU KONNO Solo Exhibition Color Inversion Exhibition―Unconscious vision」
（SA-span art gallery）〔TOKYO・GINZA〕
55th Arts Festival of Miyagi 2018（Competition）Excellence Award
55th Arts Festival of Miyagi 2018（Sendai Mediatheque）〔MIYAGI・SENDAI〕
31th Traveling Exhibition（HARADA NO MORI GALLERY）〔HYOGO・KOBE〕
55th Arts Festival of Miyagi 2018 Prizewinner’s Exhibition（Tokyo Electron Hall Miyagi）
2019 ONE ART TAIPEI 2019（THE SHERWOOD TAIPEI）〔TAIWAN・TAIPEI〕
　　　　　51th Graduation Exhibition in Miyagi University of Education
（The Miyagi Museum of Art・KENMIN GALLERY）
Master’s Research-related Treatises「Production and Study of Audience participation painting using Color inversion function 」
　　　　　The University of Miyagi University of Education President’s Encouragement Award
「MORINOWATEN」（Ohiramura Museum）〔Miyagi・OHIRAMURA〕
　　　　Master’s course of Art Education in Miyagi Graduate School of Education （Completion）
SA-span art gallery collection（Wrong Gallery Taipei）〔TAIWAN・TAIPEI〕
Collaboration「REASON×SHIRUBE」（Shirube Sendai）〔MIYAGI・SENDAI〕
56th Arts Festival of Miyagi 2018（Sendai Mediatheque）〔MIYAGI・SENDAI〕
77th Tohoku Society for Art and Culture Present a Treatise（Miyagi University of Education）
「Production and Study of Audience participation painting using Color inversion function 」
Package design and Artwork of KATURAOMURA BREND COFFEE
　　 CD jacket design of SOKONASHINOAO 1st Album「Season by Season」
SOKONASHINOAO 1st Album「Season by Season」Music Live in Sendai and exhibition
（SENDAI MACANA）〔MIYAGI・SENDAI〕

2020 HIROMU KONNO×YUI SATO×MAKOTO TAKAHASI Group Exhibition（BANSUI GALLERY）
〔MIYAGI・SENDAI〕
57th Arts Festival of Miyagi 2018 (Sendai Mediatheque)〔MIYAGI・SENDAI〕
SOKONASHINOAO Single「HOROU」Music Video Artwork
　　　　　　　
2021 「SHIROIMORITEN 2021」(Sendai Artist-Run Place SARP）〔MIYAGI・SENDAI〕
SEISHI NAKAMOTO ART MUSIUM 21th MEMORIAL EXHIBITION INTER NATIONAL ART EXHIBITION ～Art Conference with you～（SEISHI NAKAMOTO ART MUSIUM）
〔MIYAGI・SENDAI〕
　　 　　「HIROMU KONNO Solo Exhibition Nexus Painting Exhibition―Return to vision」
（Epic view・ABUKUMA GALLERY）〔MIYAGI・IWANUMA〕
With Gimmick ―Works as performance―（SA-span art gallery）〔TOKYO・KYOBASHI〕
SOKONASHINOAO Single「GOLDEN RATIO」Music Video Artwork
58th Arts Festival of Miyagi 2018（Sendai Mediatheque）〔MIYAGI・SENDAI〕
Art Festival of Quarter Studio「Ars and Techne」(Quarter Studio) 〔MIYAGI・SENDAI〕
「ALDILA' Beyond the obvious Hyperaesthesia Onerica」(M.A.D.S. ART GALLERY)
〔MILANO・ITALY／FUERTEVENTURA・SPAIN〕
〕
Information of media appereance

2017　　『Oh,Bandes』featured at the guest「About the 49th Graduate Exhibition」（broadcasted 1/30）
　　　　『RIRAKU』September issue P109（published 8/28）
『KAHOKU SHINPO』No.43429「Color Inversion Exhibition」（published 9/13）
FM IWANUMA「About the Color Inversion Exhibition」（broadcasted 9/20）
『The Asahi Shimbun』「ASA asanosora」October issue（published 10/1）
『WAKE UP CAMPUS MAGAZINE』「About the Participatory Painting」（11/24）
FM IWANUMA「About the KOMOREBITEN」（broadcasted 11/26）

2018 『The Asahi Shimbun』「ASA asanosora」January issue（published 1/1）
FM IWANUMA featured at the guest「About the SATELLITE Exhibition」（broadcasted 1/19）
FM IWANUMA featured at the guest「About the SENTOIROTEN」（broadcasted 2/9）
『IWATE NIPPO』Art News「About the SENTOIROTEN」（published 2/10）
Information Magazine vol.139 『Community-I』February issue（published 2/10）
『TOKYO MUSEUM 2018-2019』 P24, P48（published 2/20）
『The Asahi Shimbun』「ASA asanosora」March issue（published 3/1）
『KESENNUMA・MOTOYOSHI』Flyer No.65（published 3/15）
『ANREALAGE AROUND THE WORLD』（Upload 3/17）
『The Asahi Shimbun』「ASA asanosora」April issue（published 4/1）
RIAS ARK MUSEUM OF ART COMPETITION「LANDSCAPE of N.E.Vol.5」HP
RIAS ARK MUSEUM OF ART COMPETITION「LANDSCAPE of N.E.」Flyer
『GEKKAN GALLERY 4 Museum and Earthquake』No.396 P178（published 4/1）
K-NET KESENNUMA CABLE TV「About the LANDSCAPE of N.E.」（broadcasted 4/12）
『KAHOKU SHINPO』No.43637「LANDSCAPE of N.E Best Award」（published 4/15）
『THE WINDOW OF ARTS』May issue「SHINZINDAIZUKAN 2018」P71（published 5/20）
『Gekkan Art Collectors’』May issue「Fantastic Art」No.110 P54（published 5/25）
『The Asahi Shimbun』「ASA asanosora」August issue（published 8/1）
『GEKKAN GALLERY 8 Selected 400 Arts was featured in Japan part1』P231（published 8/1）
『THE WINDOW OF ARTS』August issue「FUJITA you don’t know」P157（published 8/20）
『GEKKAN BIZYUTU』August issue「Japanese Painting in HEISEI」P147（published 8/20）
The Ueno Royal Museum 『31th Japanese Nature Painting Exhibition Catalog』（8/24）
『GEKKAN GALLERY 9 Selected 400 Arts was featured in Japan part2』P219（published 9/1）
SA-Span art gallery HP Information of Exhibition（7/4～9/9）
『THE WINDOW OF ARTS』September issue「Living With Art」No.420 P276（published 9/20）
『The Asahi Shimbun』「ASA asanosora」November issue（published 10/1）
　　　　『HANAYAMA』Miyagi Association of Artists No.218（published 10/31）
　　　　 FM IWANUMA featured at the guest「Experience to create a Bookmark」（broadcasted 11/16）
　　　 FM IWANUMA featured at the guest「Back・To・The・Future」by 20th anniversary project
『KAHOKU SHINPO』No.43429「55th Arts Festival of Miyagi」(published 12/16)

2019 『COMMU』January issue「Human series」（published 1/10）
『ONE ART TAIPEI 2019』Ctalog P76（pblished1/18）
『KAHOKU SHINPO』No.43927 「51th Graduation Exhibition in Miyagi University of Education」（published 12/16）
　　　 『Clinical Education Research Vol.29』（published 3/1）
　 『AOBAWAKABA Vol.39』Miyagi University of Education（published 5/7）
　　　 『RIAS ARK MUSEUM OF ART COMPETITION「LANDSCAPE of N.E.Vol.6」』Application requirements
　　 『SOKONASHINOAO 1st Album「Season by season」』CD release（published 11/18）
　　　 『Newsletter「77th Tohoku Society for Art and Culture」Vol.78』（published 11/28）

2020 『SOKONASHINOAO single「HOROU」』Music Video release（published 10/26）
『RIRAKU』February issue P96（published 1/28）
『BANSUI Newsletter』February issue（published 2/1）
『KAHOKU SHINPO』No.44279「YAMAMOTO BLEND」(published 2/7)

2021 　『Oh,Bandes』「SEISHI NAKAMOTO ART MUSIUM 21th MEMORIAL EXHIBITION INTER NATIONAL ART EXHIBITION ～Art Conference with you～」（broadcasted 6/9）
『COMMU』June issue「HIROMU KONNO Solo Exhibition」（published 6/10）
FM IWANUMA featured at the guest「HIROMU KONNO Solo Exhibition」（broadcasted 6/25）
『RIRAKU』July issue P90（published 6/28）
『KAHOKU SHINPO』No.44771「HIROMU KONNO Solo Exhibition」(published 6/30)
『COMMU』July issue「HIROMU KONNO Solo Exhibition」（published 7/10）
『THE WINDOW OF ARTS』September issue「Stick to ears」P184（published 8/20）
『Stage natalie - Art Festival of Quarter Studio「Ars and Techne」』（derlivery 8/23）
『Yahoo！News - Art Festival of Quarter Studio「Ars and Techne」』（delivery 8/23）
『PIA entertainment information - Art Festival of Quarter Studio「Ars and Techne」』（delivery 8/23）
『GEKKAN GALLERY』August issue「My ten point」P168（published 9/1）
『CoRich- Art Festival of Quarter Studio「Ars and Techne」』（derlivery 9/2）
『SOKONASHINOAO single「GOLDEN RATIO」』Music Video release（published 10/27）
『Kappo Sendai』September issue P105（published 10/5）
『Kappo Sendai』September issue WEB（delivery 10/5）

Award History of Art
・RIAS ARK MUSEUM OF ART COMPETITION「LANDSCAPE of N.E.Vol.5」Best Award
・The University of Miyagi University of Education President’s Award
・55th Arts Festival of Miyagi 2018（Competition）Excellence Award
・The University of Miyagi University of Education President’s Encouragement Award


Collection（Public and Company）
・RIAS ARK MUSEUM OF ART PUBLIC COLLECTION（Best Award）
・NAKAMURA ART OFFICE Inc. GALLERY NAO
・Shirube Sendai
・La Deesse K.K.
・DINING＆BAR DAYBREAK


ABOUT THE ARTWORK
"Many people think that "viewing artworks in museums" means "high threshold", "quiet space", "no photography", and "no access". Especially in the field of "two-dimensional painting," which is my specialty, the above perception is strong, and the actual exhibitions in museums, galleries, and halls often have the same effect.
In the history of painting, there has been a rich diversity of painting styles, such as "Realism" by Jan van Eyck, "Impressionism" by Claude Monet, and "Cubism" by Pablo Picasso, and they have changed with the changes of the times. However, the way of viewing artworks has not changed much despite the changes of the times.
Looking at the social situation in recent years, the "information revolution" has been noticeable in that everyone now has an iPhone, smart phone, or other tablet device. In particular, the development of AI (artificial intelligence) has been remarkable, and Dr. Ray Kurzweili has predicted that we will reach singularity at least by 2045, and has proposed that we will reach a realm that humanity cannot predict (the 2045 problem). The term "nexus painting" was coined to refer to an experiential type of painting in which the work is completed through the physical and mental participation of the viewer. It is located between digital and analog, between the viewer (human) and the work (object). The term "nexus painting" was coined with the hope that by connecting the viewer and the work, it will become a link between people, between people and space, and eventually between people and society. The coined term is defined as a word whose meaning is defined by a chemical reaction between the artist's thoughts, ideas, experiences, and sensibilities, and the trends of the times and society. As there is no definite prototype for the exhibited "nexus paintings", the process of definition will be briefly described below.
From the time I entered the university (2013) until the summer of my third year of undergraduate studies (September 2015), I regularly visited a temporary housing complex in Minamikata, Tome City, Miyagi Prefecture, as a volunteer for disaster relief. During this time, I suddenly felt uncomfortable when I saw local third-graders using iPhones, smartphones, and other tablet devices as if they were commonplace, enjoying watching YouTube and other videos.
After the above incident, when I looked at society with a spotlight on people with tablet devices, I found "children with smartphones and other tablet devices as a matter of course," "businessmen who pick up their iPhones before the change strap on the train," "warnings against walking while smiling," "lectures incorporating social networking services such as Twitter," and so on. These scenes could be seen in every aspect of daily life. The sense of discomfort I felt in the disaster area was not limited to the disaster area, nor was it a sense of discomfort, but it was a moment when I became aware of the new "normal" that comes with the "changing times.
The point that cannot be overlooked in this case is that people are enjoying themselves casually.
With the development of ICT and the advent of the information society, many people are now able to use tablet terminals, which a few decades ago were only available to a few. The development of ICT and the advent of the information society have made it possible for many people to have tablet devices, which a few decades ago only a few people had.
When I think back, I realize that today's children are the so-called "digital native generation," and the "sense of unease" I felt was a result of the gap between my generation and theirs. As the times change, tastes change, and the concept of "normal" itself also changes. The new "normality" that I felt in the disaster-stricken area gave me a great hint of "changing times" and "casual enjoyment" in my daily life in the process of arriving at the idea of nexus painting. In the process of coming up with the idea of Nexus Painting, the new "normality" that I felt in the disaster area gave me a big hint about "changing times" and "casual enjoyment" in daily life.
September 2015. I encountered an unprecedented "shock". It was a fashion show called "REFLECT" presented by ANREALAGE, a fashion brand led by Kunihiko Morinaga VI, at the 2016 Spring/Summer Paris Collection. It was an innovative space where attendees could view the clothes with their smartphones in their hands and headphones on. By taking flash photos of the clothes, the clothes with retroreflective material on the threads bounce back the light and return to the viewer in the form of patterns and colors, giving the venue a mysterious atmosphere of encountering something unknown.
What shocked me about "REFLECT" was that the clothes bounced off the flash photography and came back to the viewer as light and patterns, but what made me feel the most "uncomfortable" was the fact that the attendees were looking at the clothes and the model through the screen of the tablet device, even though they were right in front of them. To put it another way, it was as if they were actually going to the stadium to watch a professional baseball game, but were constantly watching the game through the images on the electronic bulletin board. It was the sense of discomfort that came from this scene that had the greatest impact on my inspiration for "Nexus Pictures. "This sense of discomfort remained with me even after the "REFLECT" show was over, and it gave birth to the idea of "creating a flat painting that is completed when the viewer is physically and mentally involved in the work. This is the idea that I came up with. The new concept of "normal" mentioned earlier accelerated this "sense of discomfort". When I consciously observed my daily life, I noticed that there were an overwhelming number of people who were looking at society through the screens of tablet terminals in the wake of the information revolution, like the aforementioned "salaryman who picks up his iPhone before the change strap. Since I myself was in the middle of the new "normal," tablet devices such as the iPhone and the scenes of people using them as a matter of course had become commoditizedvii . As a result, I was not able to notice it, but now I have established the direction of "expression using tablet devices. Among the functions of tablet devices, I searched for functions and applications that many people overlooked and that could be utilized in the field of two-dimensional paintings. In the process, we came up with the "color inversion" function, which is designed to help people with color blindness or color weakness see things in normal colors.
The ideas of Kunihiko Morinaga and ANREALAGE, and the field of fashion, which at first glance has nothing to do with two-dimensional paintings, gave me an unprecedented "shock. And from that

This gave me a sense of "discomfort," and I was able to arrive at the idea of "nexus painting" by combining all of the "changes of the times" and "casual enjoyment" seen in the new concept of "normal.
This is how I have described the "nexus paintings" that are the main works in this exhibition. As I mentioned at the beginning of the preface, I have been trying to break the stereotype of "viewing artworks in a museum," and this exhibition reverses all of the "silent space," "no photography," and "no access.
In this exhibition, all the rules of "quiet space," "no photography," and "no approach" are reversed. Anyone can enjoy the performance of changing colors and glowing in front of their eyes. In addition, the gimmicks (participatory) that can be enjoyed by anyone, as seen in the Nexus paintings, can shorten the distance between art and daily life. I believe that repeated presentations like this will break down the image of art as "too expensive" in a positive sense, and encourage more people to participate in art and enjoy it on a daily basis.