SHUSUKE NAKANO
SHUsuke NAKANO IS ORIGINALLY FROM FUKUOKA, JAPAN. HIS SCHOOL DAYS WERE DEVOTED TO WATCHING CLASSIC MOVIES, INFLUENCED BY HIS LATE GRANDFATHER WHO USED TO BE THE MANAGER OF A MOVIE THEATER OF SHOCHIKU, A LEADING MOTION PICTURE COMPANY IN JAPAN. SHU WAS ENTHUSIASTIC ABOUT COLLECTING THE VHS AND DVD OF CLASSIC MOVIES AS IF HE HAD BEEN RECOLLECTING THE MEMORY OF HIS DEAR GRANDFATHER.
IN 2009, SHUsuke ENCOUNTERED ASTONISHING A VARIETY OF VIDEO INSTALLATION WORKS, INCLUDING CHRISTIAN MARCLAY'S AND DOUGLAS GORDON'S, DURING HIS STAY IN LONDON, UK. MARCLAY’S TECHNIQUE OF REUSING THE FRAGMENTS OF FILMS FROM EXISTING MOVIES REALLY IMPRESSED HIM WHICH DID LITERALLY MAKE HIM ENTER THE JOURNEY OF HIS OWN ARTISTIC WORLD.
SHUsuke HAD STUDIED VIDEO INSTALLATION UNDER JOANNA GREENHILL, AN ACCOMPLISHED ARTIST AS WELL AS THE DIRECTOR OF MA IN FINE ART AT CENTRAL SAINT MARTINS COLLEGE OF ART AND DESIGN (CSM). HIS INTEREST AND INTENTION TOWARDS HIS WORKS AT THAT TIME WERE TO MAKE A COLLAGE BY USING THE FRAGMENTS OF FILMS IN ORDER TO PUT THE NEW MEANINGS TO THEM WHILE EXPLORING THE RELATIONSHIP BETWEEN IMAGES AND THE THINGS THEY ARE SUPPOSED TO REPRESENT.
AFTER THE 8 YEARS OF WORKING EXPERIENCE AT AD AGENCIES IN TOKYO, SHUsuke HAD DECIDED TO RESUME HIS ARTISTIC ENDEAVOR WHICH WAS THE YEAR OF 2019. THE AD INDUSTRY HAS MADE HIM SEE A LARGE AMOUNT OF IMAGES AND TEXTS BEING USED ARBITRARILY AND CONSUMED SUPERFICIALLY WHICH THEY SEEM TO LOSE THEIR OWN POWER. HE NOW ATTEMPTS TO LET THE IMAGES AND TEXTS.
仲野修輔來自日本福岡，祖父曾是日本領先的電影公司——松竹電影的院線負責人，因受到他的影響，修輔自學生時代便對古典電產生極大的興趣，也因此熱愛收集古典電影的VHS和DVD，希望能以此來追溯祖父曾生活過的時代和祖父見過的事物。
2009年在英國倫敦時，修輔被美術館中各種視頻裝置藝術所吸引，其中尤其是被克里斯蒂安·馬克萊（Christian Marclay) 和道格拉斯・戈登（Douglas Gordon) 兩位大師的作品所震撼，他們善於重組既有的電影場景片段，這獨特的技巧給予修輔深刻的印象，也淺移默化了他的興趣與未來職涯規劃，於是決定進入藝術的世界。
修輔在同年考上了中央聖馬丁藝術與設計學院（Central Saint Martins），並成為了一名藝術研究生；學院導師喬安娜·格林希爾（Joanna Greenhill）是一位一流的藝術家，在她的指導之下，修輔開始了自己的影片裝置藝術創作之路。
身為一位藝術創作者，他致力於通過對電影片段進行重組和拼貼，以蒙太奇的手法來探索影像及其意義之間的聯繫，並試圖賦予這些影像新的含義。
畢業後回到日本，修輔先在東京的廣告代理商工作了8年，但廣告行業的工作使他了解到現代的社會，正因大量的圖像和膚淺的文本，逐漸失去了藝術原有的力量和靈魂。
2019年，他決定離開原本的職位，重回到自己最愛的藝術創作領域，至今他仍致力於使用曾經熱衷的古典電影中的影像和內容進行再創作，期許能藉此找回藝術本身的生命力。