{"id":1673,"date":"2026-08-31T15:51:50","date_gmt":"2026-08-31T06:51:50","guid":{"rendered":"https:\/\/shinya-yamamoto.com\/?page_id=1673"},"modified":"2026-09-10T15:57:03","modified_gmt":"2026-09-10T06:57:03","slug":"profile-full","status":"publish","type":"page","link":"https:\/\/shinya-yamamoto.com\/en\/profile-full\/","title":{"rendered":"Profile Full"},"content":{"rendered":"\n
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SHINYA YAMAMOTO<\/h3>\n\n\n\n

I\u2019m a painter, a haiku poet and a Hanshin Tigers fan.
I\u2019m from Osaka but now I\u2019m based in Kyoto.<\/p>\n\n\n\n

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\u30fcStatement<\/p>\n\n\n\n


Painting, haiku, and life \u2013 they are all made up of countless accidents moulded around a certain framework.<\/p>\n\n\n\n

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\u30fcEducation History<\/p>\n\n\n\n


2006 BA, Department of French Literature, Kyoto University, Kyoto<\/p>\n\n\n\n

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Artist CV (Selected)<\/h3>\n\n\n\n
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\u30fcSolo Exhibition History<\/p>\n\n\n\n

2025<\/td>My Squares \/ Palettes at Gallery Tomo, Kyoto<\/td><\/tr>
2024<\/td>My Squares at Tsubu-an, Kyoto<\/td><\/tr>
2019<\/td>Picture Languages at Gallery Tomo, Kyoto<\/td><\/tr>
2016<\/td>Under the Blackstar at Gallery Tomo, Kyoto<\/td><\/tr>
2014<\/td>Kotoba Nashi de Kataru Hito (A Man Who Talks Without Words) at Ayanokoji Gallery Take, Kyoto<\/td><\/tr>
2013<\/td>Love at Gallery Hillgate, Kyoto<\/td><\/tr>
2009<\/td>Seishun no Danmenzu (Cross Section of Youth) at Gallery Hillgate, Kyoto<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

\u30fcGroup Exhibition History<\/p>\n\n\n\n

2026<\/td>Lumi\u00e8res crois\u00e9es at Galerie Mona Lisa, Paris<\/td><\/tr>
2025<\/td>Art de No\u00ebl at W Osaka Living Room, Osaka<\/td><\/tr>
2022<\/td>Poetry from the Source<\/a> at Arimasanso Goshobessho, Hyogo<\/td><\/tr>
2019-2024<\/td>Peach Book 1-6 with Masashi OKAMOTO at Hakuhodo, Kyoto<\/td><\/tr>
2012<\/td>Drawing Exposition at Gallery Tomo, Kyoto<\/td><\/tr>
2008-2022<\/td>Annual Kansai Bijutsuin Exhibition at Kyoto Prefectural Center for Arts and Culture, Kyoto<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

\u30fcArt Fairs<\/p>\n\n\n\n

2025<\/td>Unknown Asia 2025 at Umeda South Hall, Osaka<\/td><\/tr>
2025<\/td>Art 365 at Daimaru Shinsaibashi, Osaka<\/td><\/tr>
2025<\/td>Art Osaka 2025 at Osaka City Central Public Hall, Osaka<\/td><\/tr>
2024<\/td>Art Osaka 2024 at Osaka City Central Public Hall, Osaka<\/td><\/tr>
2011<\/td>Design Festa vol.33 at Tokyo Big Sight, Tokyo<\/td><\/tr>
2010<\/td>Art Dive #3 at Miyako Messe, Kyoto<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

\u30fcTalks<\/p>\n\n\n\n

2022<\/td>International PechaKucha Day<\/a> online<\/td><\/tr>
2019-2024<\/td>Peach Book Talk 1-6 with Masashi OKAMOTO<\/a> at Hakuhodo, Kyoto<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

\u30fcMedia<\/p>\n\n\n\n

2021<\/td>Appearance on the promotional movie of Arimasanso Goshobessho<\/a><\/td><\/tr>
2021<\/td>Online seminar panelist, Arima ni Koisan produced by Arima Syotenkai Incorporated Association<\/a><\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

\u30fcPublications<\/p>\n\n\n\n

2024<\/td>Haikus, essays, Anthology: Kamineko (Paper Cats), Chiisagosha Publishing<\/td><\/tr>
2023<\/td>Critiques: Ogawa Sososhi 100 Ku (100 Haiku by SosoShi Ogawa), Reimei Shobo Publishing<\/td><\/tr>
2021<\/td>Haikus, essays, Anthology: Haiku de Sanpo (Walks with Haiku) - Kyoto 575 Part 2, Hokuto Shobo Publishing<\/td><\/tr>
2021<\/td>Haikus, essay, Anthology: Ano Ku Kono Ku - Gendai Haiku no Sekai (That Haiku This Haiku - The World of Contemporary Haiku), Sohusha Shuppan Publishing<\/td><\/tr>
2022<\/td>Book Review: Haisho Shokai, Shin Reimei Haidan Vol.5, Reimei Shobo Publishing<\/td><\/tr>
2019<\/td>Haikus, essays, oil painting, gesture drawings, Anthology: 301 volume 2 Dadadadauppi, Zo no Mori Shobo Publishing<\/td><\/tr>
2017<\/td>Haikus, short short stories, gesture drawings, Anthology: 301 volume1, Manual House Publishing<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

\u30fcSerial Publications<\/p>\n\n\n\n

2024<\/td>Critique: Declaration of Independence of Painting (for the exhibition \u201cLe dernier Monet: Paysages d\u2019eau\u201d), Layers-Sekisou Vol.1, U\u2019s ink has gone<\/td><\/tr>
2024<\/td>Critique: Issa Kobayashi, Shin Reimei Haidan Vol.10, Reimei Shobo Publishing<\/td><\/tr>
2023<\/td>Critique: Shizuko Suzuki, Shin Reimei Haidan Vol.7, Reimei Shobo Publishing<\/td><\/tr>
2022<\/td>Critique: Hosai Ozaki \/ Santoka Taneda, Shin Reimei Haidan Vol.6, Reimei Shobo Publishing<\/td><\/tr>
2022<\/td>Book Review: Haisho Shokai, Shin Reimei Haidan Vol.5, Reimei Shobo Publishing<\/td><\/tr>
2021<\/td>Critique: Soseki Natsume \/ Ryunosuke Akutagawa, Shin Reimei Haidan Vol.4, Reimei Shobo Publishing<\/td><\/tr>
2021<\/td>Critique: Hisajo Sugita \/ Sanki Saito, Shin Reimei Haidan Vol.3, Reimei Shobo Publishing<\/td><\/tr>
2020<\/td>Critique: Kenji Miyazawa \/ Nankichi Niimi, Shin Reimei Haidan Vol.2, Reimei Shobo Publishing<\/td><\/tr>
2018-2023<\/td>Book Reviews: Kushu Rekitei, Himuro, Himuro Hakkojo Publishing<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

\u30fcCommisions<\/p>\n\n\n\n

2021<\/td>Book cover and gesture drawing commision, Haiku de Sanpo (Walks with Haiku) - Kyoto 575 Part 2, Hokuto Shobo Publishing<\/td><\/tr>
2021<\/td>Lyrics to song, Karakara Haikara Street, performned by Arima Geiko Association, Arima Onsen, Hyogo<\/a><\/td><\/tr>
2019-2020<\/td>Book cover commission, Sendan, Nanposha Publishing<\/td><\/tr>
2008<\/td>Book cover commission, Jamale Torso in Japan \/ Hattke Art Model in
Nude by Hiro+Yuki<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

\u30fcRepresentation
Gallery Tomo, Kyoto
LEXPO, London<\/p>\n\n\n\n

<\/p>\n\n\n\n

\u30fcProfessional Organizations
301(Artist Collective)<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

SHINYA YAMAMOTO I\u2019m a painter, a haiku poet and a Hanshin Tigers fan.I\u2019m from Osaka but now I\u2019m based in Kyoto […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":11,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_locale":"en_US","_original_post":"https:\/\/shinya-yamamoto.com\/?page_id=17","sns_share_botton_hide":"","vkExUnit_sns_title":"","_vk_print_noindex":"","sitemap_hide":"","vkExUnit_sitemap":"","_veu_custom_css":"","_exclude_from_list_pages":"","vkExUnit_childPageIndex":"","vkExUnit_pageList_ancestor":"","_lightning_design_setting":{"layout":"col-two"},"footnotes":""},"class_list":["post-1673","page","type-page","status-publish","hentry","en-US"],"acf":[],"aioseo_notices":[],"aioseo_head":"\n\t\t\n\t\n\t\n\t\n\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t