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Ryo Kajitani is a Japanese artist candidates, Apprentice researcher, ex-model(art).
The early works were based on decadent and dark painting style, and together with Zdzisław Beksiński(1929-2005)  and Yuko Tatsushima (1974-) used to be popular in Japan with the theme of "the words that should not be looked up(検索してはいけない言葉)."

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Currently, she engaged in pencil drawings, oil-based woodcut, digital woodblock prints and illustrations while continuing her work, production and research as well publishing of her works around the world.
She is also a transgender and relies on sense of belly pain to take pictures of Whereabouts of the her body.

In research and create, from the viewpoint of a Creator, she tackles to German theory of existence, especially in the context of ontological aesthetics.

By utilizing practices inherent to authors, such as productions and exhibitions, and by using the close relationship with exhibition spaces whose basic unit is loss of hometown as the starting point, she studies the possibility of Martin Heidegger-like and ontological deployment of exhibition spaces and the “works, authors, and viewers” inside of them.
2019, These results finally summarized in her doctoral thesis and artwork, and presented in actual exhibition spaces including Tama Art Univ museums.

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general artist statement

drawing for printmaking" and "Oil-based-Woodcut" process of the work created by kajitani which is overcoming the monochrome dimension and introducing the colors to the prints for the first time, cannot be imagined without close ties with "being within the city" bridging the creator's and its masterpiece in urban space. The color of the work is not given by artist itself, but rather acts as a "generative phenomenon" born in the urban life.
 

My work itself participates in society life through exhibitions as "amulets, talismans, gifts". In order to make its historical role (the work is preserved and exhibited even after its creator passed away) sustainable, the work itself must be a symbolic thing, a “face” representing its creator and a comprehensive/impersonal symbol of urban space. This “face” is entrusted with functions of "watching over and giving". 
 

and,as long as work is stored and displayed appropriately, keep working even after an artist, pass away, work will continue with future possible possibilities to watch over the era.
After the death of an artist, these work starts to "watch over" the exhibition,Portrait (facial expression)on behalf of him, It will slept in artwork eternally.
It reaches the social sleep rising above artist's personal sleep, "work of art" puts such time and space into eternity. In that sense, the space of the my work is equal to the space of a prayer.

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