WATERFORD CITY AND WATERFORD WALLS

One Of My Favourite Cities

murals

Geometric Snail Mural By Dan Leo – A Work In Progress 12 August 2026

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I used a Sony 7RVI with a Sony 24-105mm F4 lens.

It took me two days to locate this as the directions that i had been supplied with were incorrect and on the second day i came across the mural by accident. Unfortunately, the work was not completed before I returned to Dublin.

Artist: Dan Leo
Artwork: Geometric Snail Mural
Festival & Setting: Created for the Waterford Walls International Street Art Festival in Waterford, Ireland (located in the Farran Park / Outer Ring Road area).

The Artist and Their Work

Dan Leo is a prominent London-born, Ireland-based contemporary muralist and illustrator recognised as a staple of the Irish street art movement.
Signature Style: Leo’s visual language is deeply rooted in comic, graffiti, and graphic design traditions. His work is known for bold, heavy black contour line-work, sharp geometric divisions, and hyper-saturated, contrasting colour palettes.

Subject Matter: Wildlife and nature dominate Leo’s oeuvre. He frequently depicts animals—ranging from urban foxes, tropical birds, and cats to smaller fauna like this snail—reinterpreting organic forms through rigid facets, angular planes, and graphic patterns.

Interaction with Architecture: In this piece, Leo cleverly incorporates the residential structure’s architectural elements directly into the composition. The central second-floor window forms the core spiral axis of the snail’s shell, blending physical building infrastructure with flat, two-dimensional geometric abstraction.

THE WATERFORD BOOK CENTRE REAR WALL LAYER THREE MURAL BY MAKER AND LAND PHOTOGRAPHED AUGUST 2025

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THE MURAL WAS PAINTED IN 2021

A Chronicle in Layers: The Palimpsest of a Waterford Wall

The Living Canvas of Little Patrick Street

The urban landscape, especially in a city as historically rich as Waterford, is rarely static. Instead, it is a living document, a canvas on which successive generations have inscribed their histories, memories, and aspirations. The term “palimpsest”, originally used to describe a manuscript where new writing is superimposed on earlier, erased texts, serves as a powerful metaphor for this phenomenon. The back wall of the Book Centre in the car park at 1 Little Patrick Street is a quintessential example of such a cultural palimpsest. It is not merely a piece of architecture but a site of evolving public expression, a micro-history of Waterford’s broader journey of urban and artistic regeneration.

This journey began in 2015, after a period of economic hardship when Waterford was still recovering from a financial crash. A small, grassroots voluntary group, which would later become The Walls Project, took on the ambitious challenge of revitalising neglected buildings and facades with large-scale mural art. The initiative was a deliberate strategy to inject colour, life, and joy back into the city’s heart, an effort that has since grown into the largest national and international street art festival in Ireland. The wall in question, a prominent feature of the city’s urban fabric, has served as a silent witness and active participant in this transformation, bearing three distinct layers of artistic expression. This article documents this history, guided by photographic records and observations that provided the foundation for this investigation.

Timeline of the Wall’s Artistry

The wall’s art has evolved through three distinct periods. Here is a chronological overview of these layers:

Layer 1 (Pre-2017): An unofficial community tribute to a local figure known as “The Birdman”.

Layer 2 (2017): An official collaboration by artists ADOR and SHUK for the Waterford Walls Festival 2017.

Layer 3 (2021): The current mural by the artist duo Maker & Land for the Waterford Walls Festival 2021.

Layer Three: The Legacy of Maker & Land

The third and most recent layer of the wall’s history began in 2021 when the 2017 mural was replaced by a new work by the Spanish artist duo Maker & Land. The festival, in collaboration with the Instituto Cervantes Dublin, invited the duo to participate in the 2021 festival. A street art database corroborates the location at 1 Little Patrick Street and the creation date of 19th August 2021. This provides a definitive timeline for the wall’s most recent artistic transformation, a critical point in the wall’s chronology.

While the specific title of this mural is not mentioned in the research, the artists’ style is described as a fusion of “ethnography with daily life items and objects, creating unique images with different readings according to the interpretation of each person”. This description offers an expert interpretation of the work’s thematic and artistic value.

This mural’s creation in 2021 is particularly notable. Its installation during the height of the COVID-19 pandemic, a period marked by severe restrictions on international travel and public gatherings, speaks volumes about the festival’s resilience. The ability to successfully host international artists like Maker & Land demonstrates that the festival has transcended its initial role as a simple regeneration project to become a deeply embedded and essential cultural pillar of the city. It is an enduring institution that provides a sense of continuity and community even during times of crisis.

It is worth noting that a different artist, KMG from Scotland, is credited with creating a mural titled “Mórrigan” at a separate location for the Waterford Walls Festival. This careful distinction is necessary to prevent any confusion and maintain the integrity of the historical record, ensuring that the work of Maker & Land is accurately documented as the third layer of art on the Little Patrick Street wall.

Layer Two: The Ephemeral Collaboration of 2017

My photographs from 2017 provide a valuable and detailed visual record of the wall’s second artistic iteration. A close examination of these images reveals a collaboration between two distinct styles. The right side of the wall features a large, surrealist portrait of a woman with a melancholic expression, her hair intertwined with foliage, and a large, disembodied hand gesturing beside her. The left side, by contrast, is a photorealistic portrait of a woman in stark blue tones, her hair styled in an intricate coiffure, with a single white rose adorning it.

Based on an analysis of information from the time, the artists can be identified as ADOR and SHUK. A blog post from September 2017, documenting the Waterford Walls Festival, mentions both artists’ presence and their respective origins: ADOR from France and SHUK from Ireland. The work, while appearing as an ad-hoc collaboration between friends, was an official part of the 2017 Waterford Walls Festival, a structured event that meticulously plans and organises its art installations.

A compelling aspect of this mural’s story is that it was reportedly never signed due to rain damage. This is powerfully corroborated by multiple sources from the time. Blog posts from the 2017 festival repeatedly lament the “horrible weather” and “torrential rains” that plagued the event. This weather presented significant challenges, particularly for artists from “dry countries”, causing paint to drip and leaving many large-scale works “unfinished”. An artist may not wish to claim a piece they consider incomplete or compromised by external factors.

This instance highlights the inherently temporary nature of street art, a theme reiterated by a festival attendee who noted that such works “won’t live long” and that some were already gone due to building sales or repainting. Photographic documentation, therefore, is not merely a collection of pictures but a crucial record of a transient cultural moment. It provides a permanent archive of an artwork that was not meant to last, preserving its existence in a way that the physical form could not.

Layer One: The Mythos of “The Birdman”

Before the 2017 mural, the wall was reportedly home to a tribute to a beloved local figure known as “The Birdman”. This artwork is an element of local folklore and community memory, a claim confirmed by research into local forums. A discussion on a Waterford Reddit page explicitly identifies “The Birdman” as Paddy Flynn, a man remembered for his deep affection for pigeons. This confirmation establishes the mural’s significance as a genuine, community-led act of remembrance rooted in the city’s social history.

It is important to distinguish this local legend from other, more globally recognised figures who share the moniker, most prominently Robert Stroud, the “Birdman of Alcatraz”. The tribute to Paddy Flynn was a uniquely Waterford story, not a reflection of a wider, external narrative.

No details on the artist or the exact date of the mural’s creation exist in formal records. This absence of documentation is a defining characteristic of the artwork; its history exists in the collective memory of the community, passed down through anecdotal accounts and informal online discussions. This stands in stark contrast to the subsequent murals that occupied the same space, which were meticulously planned, curated, and recorded as part of an official festival. This transition from an anonymous, grassroots act of remembrance to a professionalised, documented public art form reflects a fundamental shift in Waterford’s cultural landscape.

It is also vital to avoid conflating this exterior mural with other artworks on the Book Centre property. A comment on a local forum mentions a mural by artist Ben Hennessy within the Book Centre’s cafe. This mural, however, is an interior work and should not be confused with the exterior wall, which is the focus of this article. This careful distinction ensures the historical record remains unblemished by inaccuracies and reinforces the exterior wall’s unique legacy as a site of ephemeral, evolving art.

The Walls Project: A Broader Context of Urban Regeneration

The history of the wall at the Book Centre is a microcosm of the larger story of The Walls Project and the Waterford Walls Festival. What began in 2015 as a “small grassroots voluntary group” aimed at rejuvenating a city recovering from an economic crash, has since matured into a “social enterprise” known as The Walls Project CLG. This evolution demonstrates the remarkable success of the initiative, which now delivers large-scale public artworks and outreach projects across Ireland, with a dedicated focus on community engagement and international collaborations.

The festival’s sustained success is built upon a robust and sustainable model. It is funded by key government and cultural bodies, including the Waterford City & County Council and the Arts Council. Furthermore, it has developed an innovative approach to community engagement by inviting individuals and business owners to submit their walls for consideration, with options for corporate sponsorship. This collaborative ecosystem ensures the festival is not merely an external art installation but a deeply integrated community project, supported by a diverse array of local and international sponsors. The festival has transcended its initial purpose of a temporary aesthetic improvement to create lasting economic and social value for Waterford.

This broader context lends a deeper significance to the wall’s own history. The progression from an undocumented tribute to Paddy Flynn to the professionally curated work of Maker & Land is a direct reflection of the festival’s institutional journey. The wall has chronologically borne the three main characteristics of the movement: its organic, community-based origins; its early, challenging, and ephemeral collaborations; and its final, professional, and resilient international commissions.

A Living Chronicle of Place and Memory

The wall at the Book Centre in Waterford stands as a powerful testament to the enduring and evolving role of public art in shaping a city’s identity. From the unofficial, community-driven tribute to Paddy Flynn, “The Birdman,” to the rain-soaked collaboration of ADOR and SHUK, and finally, the resilient international commission by Maker & Land, each successive layer of art tells a unique story. It is a story of a city’s recovery, its artistic maturation, and its capacity for embracing a new form of cultural expression.

The history of this one wall is not an isolated event but a living chronicle of Waterford’s journey. It embodies the concept of the palimpsest, where the past is not erased but forms the very foundation for what is to come. In an era where much of our art is ephemeral, existing only for a short time before being replaced, the act of documenting and preserving its history is of paramount importance. The initial observations and photographic records provided for this investigation have proven to be the most vital components of this cultural archiving effort, underscoring the indispensable role of individual memory and documentation in preserving the history of public art.

THE WATERFORD BOOK CENTRE REAR WALL LAYER TWO MURAL BY ADOR AND SHUK

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PHOTOGRAPHED IN 2017

My 2017 visit to Waterford did not go well because of the weather and as my Sony A7RII camera was not weather proof I abandoned the visit after the second day.

It has taken me until August 2025 to establish the identity of the artists responsible for the 2017, layer two, mural shown in this series of photographs.

A Chronicle in Layers: The Palimpsest of a Waterford Wall

The Living Canvas of Little Patrick Street

The urban landscape, especially in a city as historically rich as Waterford, is rarely static. Instead, it is a living document, a canvas on which successive generations have inscribed their histories, memories, and aspirations. The term “palimpsest”, originally used to describe a manuscript where new writing is superimposed on earlier, erased texts, serves as a powerful metaphor for this phenomenon. The back wall of the Book Centre in the car park at 1 Little Patrick Street is a quintessential example of such a cultural palimpsest. It is not merely a piece of architecture but a site of evolving public expression, a micro-history of Waterford’s broader journey of urban and artistic regeneration.

This journey began in 2015, after a period of economic hardship when Waterford was still recovering from a financial crash. A small, grassroots voluntary group, which would later become The Walls Project, took on the ambitious challenge of revitalising neglected buildings and facades with large-scale mural art. The initiative was a deliberate strategy to inject colour, life, and joy back into the city’s heart, an effort that has since grown into the largest national and international street art festival in Ireland. The wall in question, a prominent feature of the city’s urban fabric, has served as a silent witness and active participant in this transformation, bearing three distinct layers of artistic expression. This article documents this history, guided by photographic records and observations that provided the foundation for this investigation.

Timeline of the Wall’s Artistry

The wall’s art has evolved through three distinct periods. Here is a chronological overview of these layers:

Layer 1 (Pre-2017): An unofficial community tribute to a local figure known as “The Birdman”.

Layer 2 (2017): An official collaboration by artists ADOR and SHUK for the Waterford Walls Festival 2017.

Layer 3 (2021): The current mural by the artist duo Maker & Land for the Waterford Walls Festival 2021.

Layer One: The Mythos of “The Birdman”

Before the 2017 mural, the wall was reportedly home to a tribute to a beloved local figure known as “The Birdman”. This artwork is an element of local folklore and community memory, a claim confirmed by research into local forums. A discussion on a Waterford Reddit page explicitly identifies “The Birdman” as Paddy Flynn, a man remembered for his deep affection for pigeons. This confirmation establishes the mural’s significance as a genuine, community-led act of remembrance rooted in the city’s social history.

It is important to distinguish this local legend from other, more globally recognised figures who share the moniker, most prominently Robert Stroud, the “Birdman of Alcatraz”. The tribute to Paddy Flynn was a uniquely Waterford story, not a reflection of a wider, external narrative.

No details on the artist or the exact date of the mural’s creation exist in formal records. This absence of documentation is a defining characteristic of the artwork; its history exists in the collective memory of the community, passed down through anecdotal accounts and informal online discussions. This stands in stark contrast to the subsequent murals that occupied the same space, which were meticulously planned, curated, and recorded as part of an official festival. This transition from an anonymous, grassroots act of remembrance to a professionalised, documented public art form reflects a fundamental shift in Waterford’s cultural landscape.

It is also vital to avoid conflating this exterior mural with other artworks on the Book Centre property. A comment on a local forum mentions a mural by artist Ben Hennessy within the Book Centre’s cafe. This mural, however, is an interior work and should not be confused with the exterior wall, which is the focus of this article. This careful distinction ensures the historical record remains unblemished by inaccuracies and reinforces the exterior wall’s unique legacy as a site of ephemeral, evolving art.

Layer Two: The Ephemeral Collaboration of 2017

My photographs from 2017 provide a valuable and detailed visual record of the wall’s second artistic iteration. A close examination of these images reveals a collaboration between two distinct styles. The right side of the wall features a large, surrealist portrait of a woman with a melancholic expression, her hair intertwined with foliage, and a large, disembodied hand gesturing beside her. The left side, by contrast, is a photorealistic portrait of a woman in stark blue tones, her hair styled in an intricate coiffure, with a single white rose adorning it.

Based on an analysis of information from the time, the artists can be identified as ADOR and SHUK. A blog post from September 2017, documenting the Waterford Walls Festival, mentions both artists’ presence and their respective origins: ADOR from France and SHUK from Ireland. The work, while appearing as an ad-hoc collaboration between friends, was an official part of the 2017 Waterford Walls Festival, a structured event that meticulously plans and organises its art installations.

A compelling aspect of this mural’s story is that it was reportedly never signed due to rain damage. This is powerfully corroborated by multiple sources from the time. Blog posts from the 2017 festival repeatedly lament the “horrible weather” and “torrential rains” that plagued the event. This weather presented significant challenges, particularly for artists from “dry countries”, causing paint to drip and leaving many large-scale works “unfinished”. An artist may not wish to claim a piece they consider incomplete or compromised by external factors.

This instance highlights the inherently temporary nature of street art, a theme reiterated by a festival attendee who noted that such works “won’t live long” and that some were already gone due to building sales or repainting. Photographic documentation, therefore, is not merely a collection of pictures but a crucial record of a transient cultural moment. It provides a permanent archive of an artwork that was not meant to last, preserving its existence in a way that the physical form could not.

Layer Three: The Legacy of Maker & Land

The third and most recent layer of the wall’s history began in 2021 when the 2017 mural was replaced by a new work by the Spanish artist duo Maker & Land. The festival, in collaboration with the Instituto Cervantes Dublin, invited the duo to participate in the 2021 festival. A street art database corroborates the location at 1 Little Patrick Street and the creation date of 19th August 2021. This provides a definitive timeline for the wall’s most recent artistic transformation, a critical point in the wall’s chronology.

While the specific title of this mural is not mentioned in the research, the artists’ style is described as a fusion of “ethnography with daily life items and objects, creating unique images with different readings according to the interpretation of each person”. This description offers an expert interpretation of the work’s thematic and artistic value.

This mural’s creation in 2021 is particularly notable. Its installation during the height of the COVID-19 pandemic, a period marked by severe restrictions on international travel and public gatherings, speaks volumes about the festival’s resilience. The ability to successfully host international artists like Maker & Land demonstrates that the festival has transcended its initial role as a simple regeneration project to become a deeply embedded and essential cultural pillar of the city. It is an enduring institution that provides a sense of continuity and community even during times of crisis.

It is worth noting that a different artist, KMG from Scotland, is credited with creating a mural titled “Mórrigan” at a separate location for the Waterford Walls Festival. This careful distinction is necessary to prevent any confusion and maintain the integrity of the historical record, ensuring that the work of Maker & Land is accurately documented as the third layer of art on the Little Patrick Street wall.

The Walls Project: A Broader Context of Urban Regeneration

The history of the wall at the Book Centre is a microcosm of the larger story of The Walls Project and the Waterford Walls Festival. What began in 2015 as a “small grassroots voluntary group” aimed at rejuvenating a city recovering from an economic crash, has since matured into a “social enterprise” known as The Walls Project CLG. This evolution demonstrates the remarkable success of the initiative, which now delivers large-scale public artworks and outreach projects across Ireland, with a dedicated focus on community engagement and international collaborations.

The festival’s sustained success is built upon a robust and sustainable model. It is funded by key government and cultural bodies, including the Waterford City & County Council and the Arts Council. Furthermore, it has developed an innovative approach to community engagement by inviting individuals and business owners to submit their walls for consideration, with options for corporate sponsorship. This collaborative ecosystem ensures the festival is not merely an external art installation but a deeply integrated community project, supported by a diverse array of local and international sponsors. The festival has transcended its initial purpose of a temporary aesthetic improvement to create lasting economic and social value for Waterford.

This broader context lends a deeper significance to the wall’s own history. The progression from an undocumented tribute to Paddy Flynn to the professionally curated work of Maker & Land is a direct reflection of the festival’s institutional journey. The wall has chronologically borne the three main characteristics of the movement: its organic, community-based origins; its early, challenging, and ephemeral collaborations; and its final, professional, and resilient international commissions.

A Living Chronicle of Place and Memory

The wall at the Book Centre in Waterford stands as a powerful testament to the enduring and evolving role of public art in shaping a city’s identity. From the unofficial, community-driven tribute to Paddy Flynn, “The Birdman,” to the rain-soaked collaboration of ADOR and SHUK, and finally, the resilient international commission by Maker & Land, each successive layer of art tells a unique story. It is a story of a city’s recovery, its artistic maturation, and its capacity for embracing a new form of cultural expression.

The history of this one wall is not an isolated event but a living chronicle of Waterford’s journey. It embodies the concept of the palimpsest, where the past is not erased but forms the very foundation for what is to come. In an era where much of our art is ephemeral, existing only for a short time before being replaced, the act of documenting and preserving its history is of paramount importance. The initial observations and photographic records provided for this investigation have proven to be the most vital components of this cultural archiving effort, underscoring the indispensable role of individual memory and documentation in preserving the history of public art.

A DEEP DIVE INTO A STREET ARTIST’S WORLD

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THIS IS AN EXPERIMENTAL PODCAST – YOU NEED TO SELECT PLAY

This article provides a comprehensive overview of the French street artist and graphic designer known as Nerone, whose work is a highlight of the Waterford Walls festival. It delves into his background, artistic philosophy, and career, offering a fresh perspective on his vibrant and impactful contributions to urban art.

A Note on Murals in Progress

During my recent visit to Waterford for the Waterford Walls festival, I walked around 15 miles a day and travelled another 20 miles a day by bus, trying to visit various locations multiple times. This was because many of the murals were works in progress and had not been completed by the time I returned to Dublin. A challenge I encountered was identifying the artist responsible for any given piece while it was still unfinished. This is because artists typically don’t sign their work until it is completed.

A case in point is this series of photographs, which shows the day-by-day progress of a mural by the French artist Nerone. The piece, located at the rear of Dooley’s Hotel, has replaced a beautiful mural by the Spanish artist Lula Goce from Waterford Walls 2017.

Fact Check: Nerone at Waterford Walls

It’s been suggested to me that Nerone might have participated in previous Waterford Walls festivals. However, a review of his career history does not list him as having taken part in earlier events. His involvement appears to be a notable feature of the 2025 festival programme.

Who is Nerone? Clarifying the Artist’s Identity

The name “Nerone” is used in various contexts, so it’s important to clarify the subject of this article. This discussion focuses exclusively on the French artist, also known by his given name, Nicolas Chaperon. He is not to be confused with:

Sergio Terzi, the Italian painter and sculptor (born 1939)

Massimiliano Figlia, the Italian rapper (born 1991)

Seba Nerone, the Argentinian padel player

The character in Arrigo Boito’s opera

Furthermore, the name is also a commercial brand for various products, including a Louis Vuitton handbag, kitchen equipment, and an artificial intelligence consulting firm.

From Graffiti to Graphic Design: An Artistic Journey

Born in Bordeaux, France, in 1983, Nerone’s artistic journey began in the mid-1990s graffiti subculture. At the age of eleven, he started his journey under the pseudonym ‘SKIR’, immersing himself in the hip-hop and rap movements that embraced graffiti. This was a self-taught, observational period where he spent countless hours in abandoned lots, studying the work of others and using scavenged spray cans to create his first tags.

Despite this rebellious start, his path was also shaped by a more formal, creative lineage. His parents, who met at the School of Applied Arts in Bordeaux, fostered his passion for art. This dual influence became a defining feature of his artistic practice. He went on to pursue formal training in visual communication in Bordeaux before starting his professional career in graphic design in Paris. However, the restrictive corporate environment proved to be a poor fit, prompting his move to freelance work, which allowed him to combine his professional skills with the spontaneous spirit of his graffiti background.

A pivotal moment in his artistic development came in 2015 when he moved to London. He described the move as a deliberate choice to counteract the city’s “grey atmosphere” with his vibrant art. It was in London that his distinctive style—a fusion of the abstract and the organic—fully crystallised.

The Signature Style: Colourful Chaos

Nerone’s artistic signature is a unique blend of abstract techniques and organic, floral motifs. His compositions are instantly recognisable for their “luminous” and “colourful” style, often featuring his iconic “dripping flowers.” While the finished murals may appear chaotic and free-flowing, they are the result of a “meticulous and inventive process.” The spontaneity of the dripping effect is, in fact, a controlled and purposeful act.

A key element of his work is the masterful use of a bold and vibrant colour palette, including fluorescent and neon tones. He deliberately uses this intense chromatic range to create a striking contrast with often-dull urban environments. This strategic use of colour not only attracts attention but also serves to revitalise cityscapes.

Art as Therapy and Social Good

Nerone’s artistic practice is guided by a profound and explicit philosophy. He describes his work as “therapeutic” and a form of “Art Therapy,” viewing it as a conscious effort to inject positivity into a world saturated with “bad news.” His creations are imbued with an “unstoppably upbeat vibe,” offering a direct counter-narrative to the anxieties of contemporary society.

This philosophy extends to a deeply held eco-conscious ethos. He is acutely aware of the “ecological challenges and economic problems of today’s world” and consistently uses his art to spread a positive message. This is best exemplified by his 2023 project in Southampton, where he created the UK’s largest clean-air mural. The mural, featuring his fiancée, Frankie, was made using a unique paint that absorbs carbon dioxide as it cures. The work’s estimated annual absorption of CO2 is equivalent to three mature trees, demonstrating a powerful fusion of personal expression, environmental advocacy, and public art.

A Global Presence: Murals and Collaborations

Nerone’s prolific career has made his work a visible presence in major cities across the globe, including Paris, London, New York, and Seoul. He has contributed to various international festivals and events, solidifying his standing in the urban art community.

Here is a curated list of his notable public art installations and festival appearances:

2024: Pump Up The Jam art festival (Tonneins, France), Le M.U.R. de Bourges (Bourges, France), AOTA Festival (Florida, USA)

2023: Mural in Montignac-Lascaux (France), Super Walls Festival (Padova, Italy), UK’s largest clean air mural (Southampton, UK), Mural for Airthrill (Edinburgh, Scotland)

2022: Mural for The Economist (London, UK), Mural in Bethnal Green (UK), Mural for Airthrill (Glasgow, UK), Mural in Liverpool (UK), Mural for Netflix (undisclosed location)

2021: Hit The North Festival (Belfast, Northern Ireland), Super Walls Festival (Padova, Italy), Street Art New Brighton (New Brighton, UK)

2020: London Mural Festival (London, UK), Mural in Shoreditch (London, UK), Commission for the city of Montpellier (France)

2019: Mural for Crisis UK (London, UK), Formula E (Marrakech, Morocco)

2018: Mural in New York City (USA), International Flower Show (Seoul, Korea), Formula E (Marrakech, Morocco)

2017: International Flowers Festival (Seoul, Korea), Flower Show Turkey (Istanbul, Turkey)

Beyond his public murals, Nerone has also cultivated a substantial studio practice, producing canvases and limited-edition prints. His works have been exhibited in galleries across multiple countries, demonstrating that his art is valued for both its public presence and its enduring appeal in private collections.

Commercial Success and Public Reception

Nerone’s career is marked by an impressive portfolio of collaborations with major international brands, highlighting his commercial viability and the broad appeal of his aesthetic. He has created murals for Jaguar Land Rover, a cruise ship for Celebrity Cruises, and packaging for Danone. A notable partnership was a limited-edition beer label for Pirate Life Brewing, where a portion of the sales contributed to a fund to get more art on walls across Australia—a powerful example of using commercial work for social good.

Here is an overview of some of his key commercial partnerships:

2022: Netflix, The Economist

2021: Lindeman’s, Pirate Life Brewing

2020: Celebrity Cruises

2019: Crisis UK, Danone

2018: Puma

Undated: Jaguar Land Rover

The artist has received overwhelmingly positive feedback from critics and the public. He is widely praised as one of the most “fascinating and prolific French street artists of the 21st century.” His style is consistently described as “sublime” and is regarded as a “fresh breath in the world of street art.” However, there has been a singular instance of resistance, where an elderly woman in New Brighton expressed her preference for the previous “grey wall,” wanting to preserve her old memories of the street. This anecdote illustrates the challenges of transforming public spaces with pre-existing personal or communal history.

A Lasting Legacy

Nerone’s legacy lies in his ability to blend diverse influences into a coherent and forward-thinking artistic practice. His work is a powerful synthesis of the spontaneous energy of his early graffiti days and the precise structure of his graphic design background.

By consistently infusing his work with a positive, upbeat vibe and a conscious message about ecological and social challenges, he has positioned himself as a significant contributor to a new wave of socially aware urban artists. His career provides a compelling model for how street artists can successfully navigate the transition from a subcultural movement to a professional practice, blending commercial success with artistic integrity and a profound sense of social consciousness.

Final Thoughts

The French street artist Nerone has established a formidable and enduring presence in the global art landscape. His journey, from a teenage graffiti practitioner to an internationally celebrated muralist, demonstrates a remarkable evolution of his craft. His art, characterised by a meticulous fusion of abstract and floral motifs, offers a vibrant and optimistic counter-narrative to the realities of urban life.

Nerone’s work is a testament to the power of art to inspire and effect change. By consciously using his creations as a form of “Art Therapy” and by embracing environmentally friendly techniques, he has proven that art can be both aesthetically beautiful and deeply purposeful. His impressive catalogue of global murals and his successful forays into the gallery and commercial spheres solidify his position as a vanguard in contemporary urban art.

TRAMORE THE BIG BEACH COUNTY WATERFORD

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AUGUST 2025 VISIT

I had a few hours to spare so I decided to visit Tramore and it took me much less than an hour to get there from the Granville Hotel in Waterford. I had intended to revisit the town on the following day in order to search for and photograph examples of street-art and also visit the Metal Man but I got distracted by events and did not re-visit.

Getting to Tramore from Waterford City

Travelling to Tramore from Waterford City is very straightforward and easy. The two towns are located just 12 kilometres apart, and there is a frequent and direct bus service operated by Bus Éireann (Route 360) that connects them. The journey is short, taking approximately 18-20 minutes, with buses running every 30 minutes throughout the day. This makes it a very convenient and reliable option for commuters and visitors alike.

History and Origin of Tramore

Tramore, which translates from the Irish ‘Trá Mhór’ to ‘big beach’, was originally a small fishing village. Its transformation began in the late 18th century when it was discovered as a “pleasant retreat” for the citizens of Waterford seeking the benefits of “salt water”. The town’s growth as a tourist destination was significantly boosted by the opening of a unique, isolated railway line from Waterford City in 1853. This railway was integral to the town’s development until its closure in 1961.

A key event in the town’s history is the “Sea Horse tragedy” of 1816, when a military transport ship carrying soldiers, women, and children was wrecked in the bay, leading to the loss of over 360 lives. This event led to the erection of the famous “Metal Man” statues on the headlands in 1823, funded by Lloyd’s of London, to warn seafarers of the dangerous waters. The seahorse also became a symbol of the town and was later adopted as the logo for Waterford Crystal.

In recent decades, Tramore has evolved into a “dormitory town” for Waterford City, with a large portion of its population commuting for work. The town council is now focused on promoting a more self-sustaining local economy.

Peak Season and All-Year Community

While Tramore has always been a popular tourist destination, it has developed into a settled, all-year community rather than solely a seasonal resort. Its population was recorded at over 11,000 in the 2022 census, making it the second-largest town in County Waterford.

The peak season for tourism is undoubtedly from Easter through to September, with July and August being the busiest months. During this time, the town’s amusement park, beach, and other attractions are in full swing, and a large number of local and international visitors arrive. Surfing and water sports are particularly popular, and the town hosts a long-running annual horse-racing festival in August.

However, the town does not shut down in the winter. Its large community ensures that local businesses, schools, and services remain active all year round. The off-season also offers a different type of experience, with the beach still being a draw for surfers and walkers, and the cliff walks providing a rugged, scenic alternative to the summer crowds.

Street Art and Murals

While Tramore may not have the same concentration of street art as nearby Waterford City, which is known for its annual “Waterford Walls” festival, it has been included in the festival’s expansion. The Waterford Walls festival has brought large-scale mural artwork to various locations within the county, including Tramore. Therefore, it is possible to find street art in the town, with pieces often commissioned to beautify urban spaces and engage with the local community.

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