FromtheArchives, a look back at public pandemic art. | ✍️ nlcoomes
A hand-drawn sign in crayon, taped to the inside of a window, thanking nurses and doctors. A series of chalk drawings on the sidewalk, finished off with a Black Lives Matter proclamation in a childish pink scrawl. Last Halloween, I stopped to admire a trio of paper plates turned into monster faces hung on someone’s door. I never stopped to think, then, about what this influx of signage could be called, but my dad saw it as public art.
The Stick Castle, too, started as “fun.” One October morning in 2019, my dad was engaged in a chore I hated as a child; picking up the discarded sticks that would rain down from the giant, leafy sycamore rooted in our front yard. It was such a beautiful morning that, instead of throwing the sticks away as usual, he invited my mom to join him in making a small house out of the sticks.
It was during this time that my father started noticing public works of art on his walks—the drawings people hung in their windows, the whitewashed wall with big, black block letters reading “EVERYTHING WILL BE OKAY.” “I was influenced by people putting up signs to talk to each other when they couldn’t touch each other, to communicate how they felt, to encourage someone or to show the cause they supported,” he says.
According to him, that’s when the Stick Castle really “took off.” He saw people posing in the yard for selfies with the Castle. A string of prayer flags appeared one day. In August, a wind storm blew the Stick Castle down and a neighbor texted my father a frantic message, asking if he needed help rebuilding it. He built the Castle back up, reinforced it with “support branches” and a circle of wire.
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