My name is Gina Barron and I was a volunteer on the Baltic exhibition The Waiting Gardens of the North by artist Michael Rakowitz. The exhibition formed part of the IWM 14-18 Now project dealing with conflict and the displacement of people. 

I am from an art and education background, and since taking retirement, I have been involved in a variety of gardening, horticultural and ecology projects. The Waiting Gardens of the North has managed to combine all of my favourite interests.

I was delighted when the curators at Baltic staff chose Michael. I had followed his work for several years and I really admire what his art and concepts achieve. Why did I get involved? It was a simple decision: it combined plants as part of a healing process. I’d previously volunteered with community allotment projects and I was part of a herb training course. Alongside this personal development, we trainees worked with a community allotment project for asylum seekers and refugees. The collaborations were diverse, and we worked with people from all over the globe on their sites in Gateshead.

My personal interest in the conflict aspect was through my genealogy research, using IWM websites for information. Alongside researchers, I have worked to research conscripted military personnel, conflict and displacement affect prisoners of wars too.

The exhibition layout followed an ancient traditional Iraqi garden, created firstly for a homesick princess from a faraway region. The captions and interpretation panels explained the exhibition in thorough detail. I should imagine that some visitors went away to do more research, or read the books that were part of the exhibition. While the names and places are not well known to most people, to feel a belonging is a basic human need. This concept we can all relate to on a day to day basis, it forms part of our survival. The partnership communities of Gateshead, in this case, live within an adoptive country due to conflict in their countries of origin. This is the reason that allotment and garden projects are a great source of wellbeing.

The narrative of The Waiting Gardens of the North changed according to the wide variety of visitors’ personal perspectives. I spoke to a lot of people who came to Baltic specifically to see the exhibition, and encouraged family and friends to visit too. The overriding feeling within the space, was one of calm, light, smell, texture and most importantly, an immediate sense of mindfulness. It was a safe place. It was a beautiful experience.

My main role in the exhibition was support the gardener, Nicola Bentham, and the technical team who realised the exhibition’s ancient landscape. I was tasked with keeping the plants in good health, watering each plant accordingly (top-watering or capillary action, wet leaves or dry leaves). 

A definite ecosystem developed in the exhibition, and there was also some plant conflict and displacement, in keeping with the theme. Plants are living organisms too and in turn, they give a much needed respite from conflict.

I don’t have any favourite plants: they were all a delight to care for during the exhibition. I enjoyed every aspect of plant maintenance. Everything was approached in a holistic manner, and the plants produced fruits for cooking or herbal medicines. They provided the filtered air in the exhibition space  and became a visual focus that provided a safe space, a reflective space, a sanctuary for everyone.

What I learnt from the whole experience was that I enjoy new challenges, meeting new people, learning and understanding what this exhibition meant to so many people. I learnt how plants react to care indoors. They had their individual quirky habits: plants would dictate when they needed a break outside to recuperate. They kept the gardener and volunteers on the go, but the small team had horticultural experience and a range of skills.

Baltic’s staff members were generous and so helpful in ensuring a good volunteering experience. The health and safety induction was an essential part of policy. Security was paramount to everyone on site.

This has been a memorable experience — a sentiment which has also been relayed by people that I have spoken to. The exhibition was a weekly commitment for 11 months. I would encourage those with the time to consider voluntary work.