info

Towards the last two months of my last visit to India in the spring of 2012, I encountered the Tibetan community in exile in India experiencing painful news of their people self-immolating in fire one after another in China-occupied Tibet. My experiences in the past visits in India (drawing a cremation site in Varanasi, documenting fire pits, cremation alters, and contemplating on life and death around fire) synchronized with this particular movement, an extreme way of ‘offering’ their bodies to ‘fire’ for asking freedom and peace.I could not help drawing large and small drawings as emotional response and with a sense of mourning.

After coming back to Vancouver, the self-immolation kept happening and I felt that my personal and professional task is not finished.

I have come back to India to continue to document and draw under the same theme. tomoyoihaya@hotmail.com

20 July 2023

From a Dark Night, a Bright Morning Comes 2




                                     To Live 1                                         copyright Tomoyo Ihaya 2023


It has been more than three years since I started researching the history of women in trans-generational conflicts, especially during the time of the Japanese military government's colonization in Asia.  

The inspiration came when I visited Taiwan and South Korea to hold exhibitions, hold workshops and attend residencies between 2017 – 2019. My visits to Korea and Taiwan in 2019 were a particularly strong catalyst to start learning in depth about women in trans-generational conflicts during WWII and in the post-war time throughout the 20th century.  

 

Why women and this heavy and complex theme? 

 

I became friends with many women through daily interactions in Gwangju, Korea, and Hsinchu and Taichung in Taiwan.  

The women I met taught me about the history of pain and struggles for obtaining democratic freedom in their countries. I saw their tears while they shared their personal stories. A few lost their loved ones during protests. Even though they carried sadness in their hearts, they continued to be activists.  

 

When I learned about their post war histories, I intuitively felt that their sufferings are continuations of collective traumas from the Japanese colonization period. I started reading more about the war time in Asia, especially about the modern history of Taiwan and Korea. I knew general facts about the war and colonization, but did not know details.  

 

There was a statue of a girl near the gallery where I had an exhibition in Gwangju. The statue was a memorial to the victims of the sexual slavery that was forced upon thousands of women who had to serve Japanese soldiers during World War II. I would pass by in front of her to while going to the gallery, or returning from a nearby public bath, where I became friends with local aunties.  

I felt sad and heavy as a person of the same gender, and as a person who was from the very country which had exploited and abused so many women during the occupation.  

 

Because of my encounters with these women and the statue, I decided to research about the history of women.  

 

Speaking about  the issue that is called 'Comfort Women' (I do not feel this wording is right) is very sensitive and difficult because of complex social and political conflicts up to the present day.  

 

However, as I felt and shared thoughts and cried tears with my fellow female friends in Taiwan and South Korea, I wanted to focus more and more on the 'grand mothers' lives by reading their real, painful stories. They spoke up, wishing that this would never happen again to other women (the late Harumoni Bog-don Kim said that clearly).  

 

Knowing that violence against, and exploitation of women continues on so many levels in every part of the world, I wanted to make something to bring healing and empathy, yet I feel I am still searching how to do this. I keep wondering how we can feel the pain of others, pain and bring collective healing, and ease suffering for all fellow sentient beings.





                                             To Live 2                                            copyright Tomoyo Ihaya 2023


                                                  To Live 3                              copyright Tomoyo Ihaya 2023