In a profound exploration of memory and silence, artist Jacqueline Kiyomi Gork unveils her latest sound installation, Gama 1213-B, at the Canary Test in downtown Los Angeles. This immersive experience channels the haunting echoes of a Japanese internment camp and the caves of Okinawa, drawing connections between past traumas and contemporary realities. Opening on 12 February and running until 20 March, the exhibition invites visitors to reflect on the weight of history through sound.
A Personal and Collective Narrative
The roots of Gork’s artistic journey are deeply intertwined with her family history. Her great-uncle served as a US soldier during the Battle of Okinawa in 1945, a time when many Japanese-American families faced the harrowing experience of internment. As he risked his life on the battlefield, Gork’s family endured confinement at Tule Lake, a stark reminder of the racial injustices that plagued that era. “The camps are something difficult to address because there’s been so much silence and shame around them,” Gork reflects. This silence, she suggests, has stifled conversations about identity and belonging, particularly among Japanese-Americans grappling with inherited trauma.
The stark contrast between the experiences of Uchinanchu refugees hiding in Okinawa’s caves and the interned Japanese-Americans is central to Gork’s work. “The caves were almost like bunkers, but they also became sites of despair,” she explains, highlighting the tragic decisions some made under dire circumstances. Her great-uncle’s unique position as a Japanese-speaking soldier allowed him to facilitate safe passage for those seeking refuge, yet the shared pain of these histories often goes unacknowledged.
Soundscapes of Memory
Gama 1213-B marks a shift in Gork’s artistic approach, moving away from the choreography of sound and body towards a more ambient experience. “It’s less about creating sound with your body and more about letting the sound happen around you,” she notes. The title, derived from the Uchinaaguchi word for cave (gama) and her grandfather’s barrack number at Tule Lake (1213-B), encapsulates the duality of refuge and confinement.
The installation features a newly developed ambisonic sound piece that captures the essence of Tule Lake, now a desolate field devoid of its historical significance. Gork meticulously recorded the sounds of wind and open air at the site, later processing these recordings to mimic the acoustic environment within the barracks. “No one really talks about how it felt or what it sounded like,” she observes, underscoring the often-overlooked sensory dimensions of historical experiences.
In addition to the soundscape, Gork has created ceramic tiles using clay sourced from the Okinawan caves, forming a tangible connection to the spaces that shaped her family’s history. These sculptural elements, displayed within a gridded metal folding screen, serve as both artefacts and resonant surfaces, inviting visitors to contemplate the interplay of sound and silence.
Engaging with the Unknown
Gork describes her exhibition as an ongoing exploration of her Japanese-American and Uchinanchu heritage, acknowledging that it might never reach a definitive conclusion. “It’s about being OK with the unknown,” she states, encouraging a meditative engagement with the themes of loss and memory. The work offers a space for reflection, allowing viewers to sit with their thoughts and acknowledge the silences that often accompany historical narratives.
As visitors navigate the installation, they are invited to confront their own relationships with history, identity, and the legacies of trauma. The act of spending time with the installation becomes a form of meditation, a way to honour the past while contemplating its relevance in the present.
Why it Matters
Gama 1213-B serves as a poignant reminder of the weight of history and the necessity of acknowledging the silences that shape our understanding of the past. By weaving together personal and collective narratives, Jacqueline Kiyomi Gork’s work highlights the enduring impact of trauma across generations. In a world where discussions of identity and belonging are more crucial than ever, this installation not only pays homage to those who suffered but also compels us to engage with our own histories. It challenges us to reflect on how we remember and understand the complexities of our shared past, urging a deeper awareness of the echoes that resonate within our own lives.
