Jacqueline Kiyomi Gork’s work grounds itself in institutional critique, avant-garde composition, and iconoclastic subcultures. While inheriting the spatial ethos of experimental composer Maryanne Amacher—who treated sound as indistinguishable from the room around it—Gork’s work also carries the raw charge found throughout the West Coast experimental noise and underground club scenes that the artist came up in. Simultaneously, Gork's practice finds a compelling link to the early systems art of Hans Haacke. Much like Haacke's kinetic, environment-responsive pieces, Gork treats the gallery as a dynamic physical feedback loop rather than a static container—an open circuit where the viewer’s movement and agency act as a vital, unpredictable input. A DIY instinct anchors Gork's multi-directional practice, which is also founded upon investigation into the violent histories of institutional and state power, and scientific research into how sound and pressure work on the nervous system. From these inquiries, Gork has constructed tightly calibrated environments that have incorporated everything from sound-absorptive overcoats felted from human hair to soft inflatables, spatialized speaker networks, and brutalist 'Zen' fountains welded from repurposed military aircraft hardware.