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山口駿

His Personal Website

oumlr.com

One Piece of Art

驟雨の狭間 (Rainshower) / Silentroom × Shun

How he started

Educational Background

Shun Yamaguchi (born 1998 in Aichi Prefecture, Japan), who goes by the artist name “oumlr,” studied Digital Creation at Kyoto Seika University’s Faculty of Design, graduating in March 2021. During his time at university, he specialized in motion design and computer graphics. His graduation project, META-morphose, received the “Chairperson’s Award” at the 2020–2021 graduation exhibition, highlighting his strong artistic talent early on.

Early Works

Yamaguchi’s initial focus was on motion graphics and 3D computer animation. Even before graduating, he was involved in several notable projects in animation, music videos, and online commercials. For instance, in 2019, he contributed to the opening sequence of the TV anime Fate/Grand Order - Absolute Demonic Front: Babylonia. In 2020, he created the official music video for “世界はまだ始まってすらいない” (“The World Hasn’t Even Begun”) by Vocaloid producer PinocchioP (featuring Hatsune Miku), showcasing his dynamic blend of 2D and 3D animation.

After his graduation, Yamaguchi continued developing a distinctive style characterized by rapid, high-energy visual transitions. One example is the 2021 animated music video for “火焔” (“Kaen”) by the band DUSTCELL, which he co-directed, reinforcing his reputation in the field of cutting-edge CG and motion graphics. His work earned him a place in the “映像作家100人” (“100 Filmmakers to Watch”) listing for 2021, marking him as one of the most promising up-and-coming creators in Japan right after leaving university.

Sources of Inspiration

As a creator who grew up immersed in digital culture, Yamaguchi’s inspirations draw heavily from internet subcultures and modern technology. He has been notably influenced by Japan’s Vocaloid and “2D” (anime and manga) culture. Online platforms such as Nico Nico Douga fostered a generation of motion designers who integrate digital and pop-culture elements into their work—a trend reflected in Yamaguchi’s fusion of nostalgic, retro-style graphics with contemporary CG techniques.

His graduation piece, META-morphose, vividly demonstrates his fascination with the evolution of visual media: blending low-pixel retro aesthetics that evoke old CRT screens with modern high-resolution 3D visuals and emoticons suited to smartphones. Through this and other works, Yamaguchi aims to explore how different mediums transform and merge in the digital era. Additionally, his involvement in high-profile anime projects (like Jujutsu Kaisen and Chainsaw Man in a CG or motion design capacity) further expanded his technical expertise and influenced his creative direction.

Overall, these cultural interests, hands-on experiences, and continuous experimentation with various media converge to define the unique, technology-driven style of Shun Yamaguchi—“oumlr”—as he rises within Japan’s new generation of animation and motion graphics artists.

Where do they belong to?

Early in his career he was recognized as one of the “100 Japanese Motion Graphic Creators” in 2021, placing him among Japan’s notable young digital creators. He is also a member of “sankaku,” a multifaceted Japanese animation/CG collective (shun yamaguchi | 映像作家100人) (sankaku About), indicating his active involvement in the country’s digital art and motion graphics community.

Evolution of his Work

Early Years (Mid-2010s): Yamaguchi began creating videos as a teenager. In fact, he started making video art around age 16, and by 18 he had already directed a high-profile music video for Vocaloid producer PinocchioP (映像制作は18歳のクリエイター”駿（シュン）”。ピノキオピー最新MV「SAYONARA HUMAN」を公開！！ | ::UMAA Inc.::). This 2016 video, “SAYONARA HUMAN,” blended animation, graphics, live-action footage, and CGI, showcasing Yamaguchi’s fresh youthful sensibility and surprising technical skill (映像制作は18歳のクリエイター”駿（シュン）”。ピノキオピー最新MV「SAYONARA HUMAN」を公開！！ | ::UMAA Inc.::). Its success in conveying the song’s pop-satirical tone brought early attention to Yamaguchi as a rising creator in the Vocaloid and net-art scene.

University and Experimental Works (2017–2021): While studying at Kyoto Seika University, Yamaguchi continued to refine his style and technical range. He contributed to projects like the opening animation of the anime Fate/Grand Order – Absolute Demonic Front: Babylonia (2019) (shun yamaguchi | 映像作家100人) and produced multiple independent music videos for online artists. His university graduation project, “META-morphose” (2021), was an ambitious installation/music-video hybrid. This 8-minute piece was exhibited as part of the Kyoto Seika University Graduation Works exhibition (Installation / Music Video - oumlr.com). META-morphose won the university’s Chairman’s Award at the 2020年度 graduation exhibition (デジタルクリエイションコース卒業生の千合洋輔さんと山口駿さんの2名が「映像作家100人 2021」に選出 | 京都精華大学), underlining Yamaguchi’s ability to push visual storytelling into an immersive art experience. By this time, his work showed an evolution from short, punchy CG animations toward more concept-driven, experimental pieces combining multiple media.

Professional Work and Broader Media (2021–Present): After graduating, Yamaguchi’s career accelerated into professional realms. He directed a string of innovative music videos for artists in Japan’s indie and Vocaloid community – for example, MVs for PinocchioP (“The Pokémon Inside My Heart”, 2023) (山口駿 (@oumlr) · Instagram photos and videos) and for virtual singers like 花譜 (“Kagami yo Kagami”, 2021) and 理芽 (“Inner Child”, 2022). His signature style — vibrant CG imagery blended with 2D animation and motion graphics — became more polished and ambitious. By 2023 he was also handling commercial work, such as directing a Suntory Tennensui mineral water TV ad with dynamic CG visuals (shun yamaguchi | 映像作家100人). Notably, he contributed visual design to projects with major pop-cultural reach, including motion graphics for YOASOBI’s hit song “Idol” in 2023 (oumlr.com) and background visual design for the pop group Perfume’s live shows (kosuketsukagawa). This period shows Yamaguchi extending his creative output from online music circles into mainstream media and advertising, while maintaining an experimental edge in visuals.

Notable Exhibitions and Showcases

Although much of Yamaguchi’s work circulates online and on screens, he has also presented his art in gallery exhibitions and curated events:

  • Open HAUS Vol.5 “TELEPATHY” (2020, Kyoto): Yamaguchi was invited as a participating artist in this experimental media art exhibition organized by CEKAI’s Kyoto HAUS. The show featured interactive digital works exploring communication technology, and included Yamaguchi (credited as Shun Yamaguchi/oumlr) among a roster of multimedia artists (〖展覧会のお知らせ〗TELEPATHY OPEN HAUS vol,5 | 情報デザイン学科 | KUA BLOG). This early exhibition, held while he was still a student, signaled his emergence in the Japanese new-media art scene.
  • “Resistance and Resonance” (2021, BnA Alter Museum, Kyoto): Yamaguchi’s work was featured in this group exhibition at the BnA Alter Museum, a contemporary art space in Kyoto. The show ran January 16–30, 2021 and showcased pieces by a cohort of young artists working with visual perception themes. Yamaguchi exhibited alongside collaborators like Katsuki Yoshinaga and Mao Hiraoka (Oh I’m seeing, baby. | Exhibition | BnA Alter Museum), indicating his art was presented in a museum context. The inclusion of his work in Resistance and Resonance underscores that his motion-graphic pieces can function not just as commercial or music video content, but as standalone artworks in a gallery setting.
  • Kyoto Seika University Graduation Exhibition (2021, Kyoto): At the university’s annual graduation exhibition, Yamaguchi’s installation META-morphose was displayed (in the campus gymnasium space) and earned the President’s Prize (理事長賞) (デジタルクリエイションコース卒業生の千合洋輔さんと山口駿さんの2名が「映像作家100人 2021」に選出 | 京都精華大学). This exhibition was a significant showcase for his culminating student work, and the award attested to its impact. The piece’s installation format and recognition within an academic/art context helped launch Yamaguchi’s professional reputation.

In addition to these, Yamaguchi’s motion works have been screened at various events. As a recognized young creator, he was featured in the “映像作家100人 2021” (100 Motion Graphic Creators) publication, which often entails screenings or showcases of the selected artists’ works. He has also collaborated on live audiovisual performances (for instance, providing animated background visuals for concerts (kosuketsukagawa)), effectively bringing his visuals into music festivals and live event settings.

Current Trajectory and Future Directions

Shun Yamaguchi’s career is rapidly expanding, and his recent endeavors hint at possible future directions for his art. In the last year, he has ventured into anime direction: he served as director, storyboard artist, and CG/VFX lead for the opening sequence of the TV anime Shangri-La Frontier (2024, Second Season) (山口駿 - アニメ@wiki FANBOXご支援募集中！ - atwiki（アットウィキ）). This move into anime production – working on a major televised project – suggests Yamaguchi may continue bridging the worlds of music video visuals and animated storytelling. Industry observers have noted his dynamic style carries over to these sequences, blending 3D and 2D techniques in novel ways (山口駿 - アニメ@wiki FANBOXご支援募集中！ - atwiki（アットウィキ）).

Looking ahead, Yamaguchi appears poised to further blur the line between commercial animation and contemporary art. Given his background in installation art and interactive media, it’s conceivable he will pursue more immersive art projects or multimedia installations that combine his CGI animation expertise with physical or interactive elements. At the same time, his growing roles in high-profile anime and music projects indicate he could take on larger directorial positions – for example, helming short films, animated music specials, or even full anime episodes. His collaboration with established creators (such as contributing CG work to director Atsushi Nishigori’s upcoming project “GROTESQUE” (錦織 敦史 (@GoLi_PPP) / X)) also points to deeper involvement in the creative industry at large.

In summary, Shun “oumlr” Yamaguchi is a prominent young figure in Japan’s digital art and motion graphics community. He started with edgy, pop-culture-infused videos as a teen, evolved through experimental college works, and is now making a mark in mainstream media and art exhibitions alike. His ability to navigate both the art gallery and the anime/vocaloid mainstream showcases a versatile talent. If his trajectory continues, we can expect his future work to push boundaries at the intersection of music, animation, and immersive visual art, potentially leading new trends in how visual artists engage with technology and storytelling.

Sources (English & Japanese):

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