When the U.S. government carried out the mass removal of some 110,000 Japanese Americans after Pearl Harbor, painter and illustrator Estelle Peck Ishigo made an almost unimaginable choice: she refused to be separated from her Nisei husband and voluntarily accompanied him into confinement at the Heart Mountain War Relocation Center in Wyoming. During the 1942–1945 wartime incarceration she filled sketchbooks and canvases with uncompromising, intimate images of daily life behind barbed wire — a visual chronicle that would later form the basis of her memoir Lone Heart Mountain. The moral and artistic weight of her work derives from the collision of identities — a Caucasian woman documenting the humiliation, boredom, resilience and quiet indignities endured by those incarcerated — and from the broader historical wrong of Executive Order 9066 that enabled the forced removals.
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