24.3.20 Why a wishing tree?
‘A wishing tree is essentially an individual tree which has been chosen specifically, and is used for offerings and wishes. These trees are identified as having a special traditional, spiritual, or cultural significance. Generally, people will come to these trees and make offerings (in the form or notes, flower, coins, and more) to have a wish granted, or a prayer heard. These trees have become known in various parts of the world, and some even have festivals which revolve around them.’ (ios Urn, 2020)
For the past couple of weeks, really since we had to leave the studio, I’ve been trying to think whether there are ways I can still make participatory art when we’re self isolated, socially distanced and can’t touch what anyone else has touched? Much of my work to date relies heavily on touch and active participation, so in this new and surreal world of isolation and screens, how can I still offer a kinaesthetic experience?
I decided to try by setting up an installation outside the front of my house, around the silver birch tree on the street. At first, I left a big bucket of strips of cloth for passers-by to add but I soon realised that other people shouldn’t touch what I’ve touched, so I removed it. A few people had, however, tied strips of cloth on to the installation in the intervening couple of hours.
Look here for more research into the history and cultural significance of wishing trees and similar installations.
Bios Urn (2020) The Fascinating Cultural Trend of “Wish Trees” Available at: https://urnabios.com/the-fascinating-cultural-trend-of-wishing-trees/ (Accessed 25 March 2020)
‘A wishing tree is essentially an individual tree which has been chosen specifically, and is used for offerings and wishes. These trees are identified as having a special traditional, spiritual, or cultural significance. Generally, people will come to these trees and make offerings (in the form or notes, flower, coins, and more) to have a wish granted, or a prayer heard. These trees have become known in various parts of the world, and some even have festivals which revolve around them.’ (ios Urn, 2020)
For the past couple of weeks, really since we had to leave the studio, I’ve been trying to think whether there are ways I can still make participatory art when we’re self isolated, socially distanced and can’t touch what anyone else has touched? Much of my work to date relies heavily on touch and active participation, so in this new and surreal world of isolation and screens, how can I still offer a kinaesthetic experience?
I decided to try by setting up an installation outside the front of my house, around the silver birch tree on the street. At first, I left a big bucket of strips of cloth for passers-by to add but I soon realised that other people shouldn’t touch what I’ve touched, so I removed it. A few people had, however, tied strips of cloth on to the installation in the intervening couple of hours.
Look here for more research into the history and cultural significance of wishing trees and similar installations.
Bios Urn (2020) The Fascinating Cultural Trend of “Wish Trees” Available at: https://urnabios.com/the-fascinating-cultural-trend-of-wishing-trees/ (Accessed 25 March 2020)