1970 生于日本琦玉县浦和市。1998 毕业于东洋大学社会学专业。现工作、生活于东京的水野亮，虽然不是艺术专业出生，但是热爱绘画艺术的水野亮一直没有放弃自己的艺术。在日本游戏公司上班的同时，每天的工作之余都投入喜爱的绘画。
2001 年开始，水野亮的群展及个展在日本多家画廊及美术馆举办，并多次获得绘画大奖（当代艺术冈本太郎纪念奖、Philip Morris K.K 艺术奖、东京 Wonder Wall 奖、Shell 艺术奖)。水野亮用铅笔与墨笔创造出了无数神秘生物，这些生物似乎从他的手中自然流淌出来，他的绘画的速度之流畅，超出观者的想象，仿佛能感受到画面的色调逐渐暗下来，迫使观者用全部的感官去捕捉从深邃的黑暗中浮现出的细节。艺术家对现实世界秉持着一份冷静，却在另一个如梦境般的平行空间中，充满了天马行空的想象，在那里他是上帝，主宰着这些五花八门的生物的身体、情绪、思绪与能量。
此外，水野亮通过近三年艰辛地创作完成了 1000 幅《大头公主》，带着日式漫画“Kimokawa (有些恶心又有些可爱）”的特色。大头公主的五官，头颅被戏谑、把玩到了极致，每一个生命体都鲜活富有个性。艺术家将大头公主的出生时代设置在了 80 后，作品将 80 后的青春记忆充分地诠释出来，脆弱，孤独，迷茫，宅，搞怪，标新立异，所有孩子拥有的梦，经历的成长故事。
Ryo Mizuno was born in Saitama in 1998.He graduated from Sociology department, Tokyo University, and now live and work in Tokyo.Although Mizuno did not major in art, he loves painting and has never given up his art. While working at a Japanese game company, he devoted himself to his favorite painting after work everyday.
Since 2001, Ryo Mizuno's group exhibitions and solo exhibitions have been held in many galleries and art museums in Japan, and he has won many painting awards (Contemporary Art Okamoto Taro Memorial Award, Philip Morris K.K Art Award, Tokyo Wonder Wall Award, Shell Art Award).Mizuno created countless mysterious creatures with pencils and ink pens, these creatures seem to flow naturally from his hands. The speedy images are so smooth that exceed the viewers’ imagination as if they can feel the tone of the picture gradually darkening. The viewer is forced to use all his senses to capture the details that emerge from the deep darkness. The artist maintains a calmness towards the real world, but in another parallel space like a dream, he is full of fantastic imagination, where he is God, who dominates the bodies, emotions, thoughts, and energy of these flourished creatures.
In addition, Mizuno completed 1000 “Funny Dolls” through nearly three years of hard work, with the characteristics of the Japanese manga "Kimokawa (a bit disgusting and a bit cute)". The facial features of Funny Dolls, the big heads have been parodied and played to the extreme, and each living individual is fresh and full of personality. The artist sets the birth time of Funny Dolls in the post-80s generation, and the work fully interprets the youthful memories of the post-80s generation, fragility, loneliness, confusion, homebody, parody, unconventionality, all the dreams that children have, and the growth stories they experience.