contemporary art

Rights of a Tree



Charlotte Squire presents a banner for the ‘Rights of a Tree’ as part of Flow State at Make SW, referencing trade union banners and William Morris’s writing behind workers rights and craft, where engaging the senses through the handmade process is a key concept.

 Legal standing for the more-than-human inhabitants of natural world was first suggested by academic Christopher Stone in his 1972 paper ‘Should trees have standing?’ asking such questions as; Could nature have rights? Was it possible for a forest to have legal standing?  Who would speak for these natural entities?  

‘Because until the right-less thing receives its rights we cannot see it as anything but a thing for the use of ‘us’- those who are holding rights at the time’  

Elders  of the N American Innu people, the Mi’kmaq, propose the notion of Two-eyed Seeing- the sets of eyes are of indigenous ecological knowledge and western scientific knowledge working together rather than opposing each other.

A banner provides a rallying point for activism supporting rights for nature, whether a forest, a river, and other of Earth’s inhabitants. This ‘Rights of a Tree’ banner is made from textile and bark cloth – a ceremonial cloth used in ritual for births, initiation, marriage and deaths, parallel to those rites of passage taking place in the natural world; insects pupate and birds hatch, fledgelings fledge, plants grow, fungi form and fruit and nuts ripen and sustain. Tree’s shade cools Earth’s human and more than human inhabitants, ever more important in a warming 

Threshold Figure

Threshold figure, textile, wood 2025 The Plough Artrs Centre Torrington. Image credit Grace Rogers

Threshold figure was part of Dialogues at the Plough Arts Centre and at Discovering42 as part of FLAMM 2026

Threshold figure shows a cultural disconnectedness from nature in Western societies, using myth and magic realism to recreate connections of coherence and sentience which may have been severed.
Costume, mask and ritual objects for ceremony and performance allow participants a deep immersion into nature’s mysterious workings.

These objects are the only remaining evidence of that performance.

Stiltwalker

small textile figure on stilts wearing a mask made of agapanthus seed heads

Stiltwalker 2024 textile, wire, wood.

Where Are We Now? at the Thelma Hulbert Gallery Honiton

Stiltwalker is a small figure striding through the landscape. Walking on stilts is something I remember from growing up in Kent, where stilt walkers were used for hop picking & stilts were a natural part of childhood games – here reimagined as a way of navigating a flooded landscape

Where Do We Go From Here?

Eusapia at Sea photo credit Andy Keate for GHosttide, Thameside Studios

‘Where Do We Go From Here’  Workshop2 Ocean Studios Plymouth curated by Charlotte Squire

Eusapia at Sea, used sea water from Devil’s Point to connect with the site at Ocean Studios, RWY, Plymouth –  made originally for GHosttide using Thames water & lifejacket lights

Also showing a new interation of Seedhead as an interactive hanging object that audience can ‘wear”

 artists from Plymouth Kin

Dana Aala, Alan Braidford, Heather Burwell, Caroline Collingridge, Claire Gladstone, Julie Griffiths, Angela Hilton, Jacqui Jones, Monika Rycerz, Ellen Sims, Viv Spencer, Charlotte Squire, Frances Staniforth, Antonia Texidor.