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Ryo Kajitani

Ryo Kajitani works as both artist and queer art model in Tokyo, Japan. His identity as nonbinary and asexual enriches not only his presence as a model but also resonates throughout his artistic practice. During his time at Tama Art University (2010-2014), he specialized in oil-based woodcut printmaking. In the doctoral program (2016-2019), he studied under the late MOTOE Kunio (art historian, 1948-2019) and Nakamura Yutaka (cultural anthropologist). His research focused on implementing the ontological aesthetics method in exhibition spaces with the artistic activities therein and proposed tentative logical models based on Heidegger’s art theory. After graduating, he returned to work as an art model and graphic designer in Tokyo. His experience in art modeling and knowledge of woodblock printmaking techniques converge in his current photographic practice. His work combines analog photography and computational methods using Python libraries. Recent exhibitions and awards include the Montage Award at Meta Morph AI Film Awards, participation in “AI AI AI International Group Invitational” at WESSLING Contemporary (formerly Radian Gallery), and recognition at the Asian Digital Art Award FUKUOKA. He also uses his experience of being assaulted to provide international humanitarian aid and support orphans and others who wish to reintegrate into society.

Trauma as Dreamer

I dreamt of that man’s
body as a falling animal,
draped in heavy cloth.

I knew, somewhere,
that by reaching him I could
be young, enough to live.

Between us were mountains,
thickets dotted
with lavender and rosehip.

In the hillside, churches
carved into earth so that
even the spires fell

below the tallest grass,
each with ornate windows
drowned in shadow.

I would call out to him,
this man of sharp bone, but
the sound arrived too late,

finding only the air
that held his shape, dropping
away with the sun.

Chagall Taught Me How to Drive

Through the Chevy rumble of a borrowed car,
we waited for her baby to be born,
our nights sliding under the tires like a Chagall
painting of the wedding couple floating above town.
The beautiful breasts of my girlfriend
like frosting on a wedding cake. She steered me
blindly across the road with one hand,
avoiding a levitating fiddler, Chagall himself
standing on the side of the road, showing us
he had seven fingers to paint faster.
My girlfriend was pregnant and she taught me
how to drive, her cheekbones pressed against my shoulder.
When I strayed out of my lane, she said to keep left,
pretending the faded white line was a child.
I hadn’t fathered the road or the baby inside her.
Nor would we ever float loose above wooden fences,
pass through a window into Paris.
She didn’t want to birth her baby alone:
her belly barely fit behind the steering wheel.
I drove thirty miles per hour, slowing down
for peasants who were dancing in the road,
thinking they must be from Belarus, where
Chagall first painted on stained glass:
these ghosts from his past now stared at us.
We were headed for the beach in our borrowed Chevy.
The trees waited for us to find them human,
as they stood one after another, with their arms raised.
I counted them along the road until one bent in heartache,
and this was where we turned off for the shore.

Memory

Trauma