What does it mean to share a cultural memory?
Wall text for Reimaging Cultural Memories
Cultural, or collective, memory references the shared experiences and knowledge that transcends individual recollections. Such a concept invites us to rethink our understanding of memory, moving beyond a purely biological framework to a cultural one. Instead of viewing memory as a solitary process, we can begin to recognise it as a collective entity.
Acquille Dunkley’s work holds a mirror to the everyday elements of life in Jamaica: the banging of the domino table, the rush of the coaster bus, the sight of a marina hanging on the line. Each representation, a shared cultural memory crafted from Dunkley’s imagination, reinterpreted through the intricate digital worlds he creates. This reimagining is further enriched by our shared experience of his work. What do we feel when we see our culture reflected back at us - Are we reflective? Nostalgic? Proud? Surprised? Perhaps, what we perceive as ordinary in our everyday lives, isn’t so ordinary after all, and is, in fact, imbued with deeper significance.
With works created specifically for this exhibition, Reimagining Cultural Memories, reveals a deep reverence for the fundamental aspects of our lives in Jamaica. It captures a pivotal moment in time as our world continues to navigate rapid technological advancements and globalisation. Dunkley’s use of digital art to safeguard and materialise the intangible aspects of our culture, offers exciting new possibilities in sharing our heritage with future generations.
Reimagining Cultural Memories serves as a powerful reminder to Jamaicans, for us to tell our own stories, and to celebrate the richness and depth of our lived experiences.
Curatorial text for exhibition handout
One of the most intriguing aspects of Acquille Dunkley’s work is its duality. Each world he crafts evokes both a quiet stillness and a subtle sense of motion. These ‘worlds’ at first appear as silent scenes, but then invite you to imagine the rhythmic banging of dominoes, the vibration of a sound system, the fluttering of hummingbird wings. Notably, none of his pieces feature human figures - their absence instead makes us the participant, effectively placing us in the scene and transforming these memories as our own. This interplay of duality extends to feelings of nostalgia, coupled with an outlook that invites us to look towards the future. ​
The exhibition begins with two of Dunkley’s most recognizable pieces, Portrait of Red Jerk Pan (2020) and Six Love, Bruk Table (2022), immediately establishing a sense of familiarity within the space. Continuing along this path directs one’s gaze to the two largest works of the exhibition: Zinc House Pon Mountain Top (2022) and its new counterpart, Zinc House Pon Mountain Top (At Night) (2024). Surrounding these central pieces are others conceived exclusively for the exhibition, accompanied by symbolic reminders of our culture. The use of aluminium as the primary medium to display Dunkley’s work pays tribute to the characteristic zinc walls found throughout Jamaica. Additionally, the site-specific barrel installation, small screens inspired by those seen in taxis, and the colourful crates featured in the Gift Shop, all enhance a richly immersive cultural experience.​
Through his use of digital tools, Dunkley masterfully employs culture as a lens, bringing distinct elements into focus. He mirrors the world around us, and in doing so, elevates the everyday and mundane, highlighting the importance of how we interpret and appreciate our cultural existence. By creating his works entirely digitally, Dunkley moves beyond the traditional forms of expression we typically encounter here in Jamaica, expanding the ways in which we represent ourselves and our culture.