BELFAST 2025
THE LAST WEEK OF MAY 2025
INTRODUCING A NEW APPROACH
BELFAST PHOTO COLLECTIONS
IF YOU PREFER IMAGES TO TEXT THIS IS FOR YOU
BELFAST CITY
MAY 2025 VISIT TO THE CITY
WINIFRED CARNEY MEMORIAL
ROWAN GILLESPIE'S TITANICA [TITANIC BELFAST VISITOR ATTRACTION]
Titanica: A Symbol of Hope and Legacy
This powerful sculpture, titled Titanica, depicts a diving female figure gracefully mounted on a slender base. Standing at life-size and weighing an impressive three-quarters of a ton, it commands a significant presence.
The artwork draws profound inspiration from the traditional figureheads that once adorned the prows of sailing ships, connecting it directly to maritime history and the age of grand voyages. However, Titanica's purpose goes deeper than mere nautical homage. It was specifically created to embody hope and positivity, particularly in relation to the poignant Titanic story and Belfast's enduring shipbuilding legacy.
Adding another layer of interpretation, the sculpture's design subtly incorporates a cruciform shape when viewed from the front. This deliberate artistic choice allows for deeper contemplation of the interconnected themes of death and life, acknowledging the tragedy of the Titanic while still emphasizing resilience and renewal.
The Artist: Rowan Gillespie
Titanica is the masterful creation of Rowan Gillespie, a highly respected and renowned Irish sculptor. Gillespie is celebrated for his compelling and often haunting bronze figures that frequently grace public spaces, evoking strong emotional responses. He dedicated 12 months to the creation of Titanica, a testament to his commitment to the piece. Gillespie has openly expressed his profound honor at having his work displayed in front of Titanic Belfast, a location he found immensely inspiring throughout the creative process.
WINIFRED CARNEY MEMORIAL
WINIFRED CARNEY MEMORIAL [BELFAST CITY HALL MAY 2025]
Winifred Carney: A Lasting Tribute to a Revolutionary Life in Belfast
Belfast City Hall, a symbol of the city's rich history, now hosts a profound act of public commemoration. In March 2024, a bronze statue honouring Maria Winifred "Winnie" Carney was unveiled on its grounds. This marked a significant moment in Belfast's evolving narrative of historical recognition.
Winifred Carney (1887–1943) was a formidable figure in Irish history, known for her roles as a trade union secretary, women's suffragist, socialist party member, and a key participant in the 1916 Easter Rising in Dublin. This report explores Carney's extensive background, her multifaceted activism, and her enduring legacy. It also examines the symbolism and public recognition surrounding her statue, contextualising its placement within Belfast City Hall's historical landscape of memorials. Finally, it details the artistic contributions of the sculptors, Ralf and Naomi Sander, who brought this important tribute to fruition.
A Symbolic Unveiling
The unveiling of Carney's statue on International Women's Day 2024 was a highly symbolic act. The deliberate choice of this date explicitly links her commemoration to broader themes of female achievement and gender equality. This timing amplifies the statue's message beyond a simple historical acknowledgement, positioning it as a powerful statement on contemporary values and the ongoing struggle for women's rights.
Furthermore, Carney's statue, alongside that of Mary Ann McCracken, represents the first non-royals to be honoured in such fashion in the City Hall grounds. This signifies a profound evolution in Belfast's civic identity and its approach to public memory. Historically, monuments at Belfast City Hall largely reflected narratives of imperial service, industrial prowess, and civic leadership. The inclusion of figures like Carney, a republican and socialist, marks a deliberate departure from this traditional, often exclusive, narrative. This shift indicates a conscious effort by Belfast City Council to foster a "good and harmonious environment" by embracing a more inclusive and diverse understanding of the city's history, thereby contributing to reconciliation in a post-conflict society.
Winifred Carney: A Life of Revolutionary Activism
Winifred Carney's life was defined by an unwavering commitment to social justice and Irish independence, evolving from her early experiences into a multifaceted revolutionary.
Early Life and Influences
Born Maria Winifred Carney on 4 December 1887 in Fisher's Hill, Bangor, County Down, she came from a lower-middle-class Catholic family. Her early life was shaped by family challenges; her father, a Protestant commercial traveller, later left the family, compelling her mother, Sarah Cassidy, to support their seven children. The family relocated to Falls Road in Belfast, where her mother managed a small sweet shop. These early experiences, particularly her family's economic struggles, likely fostered a deep empathy for the working class and cultivated a strong sense of independence within Carney, crucial for understanding her later commitment to socialist and trade union causes.
Carney was educated at the Christian Brothers School in Donegall Street, Belfast, where she also taught before qualifying around 1911 as a secretary and shorthand typist. This achievement was pioneering for women in Belfast at the time, providing her with a progressive career path. Her pursuit of secretarial skills was not merely a vocational choice but a pathway to economic independence and access to influential political figures like James Connolly, making it a foundational element of her activism.
In her early twenties, Carney also became involved with the Gaelic League, an organisation established in 1893 to preserve the Irish Language and a driving force behind the Gaelic Revival. Her involvement reflected a personal interest in art, literature, and music, aligning with a wider cultural movement in Irish society. This suggests a holistic vision for Irish identity that encompassed language and arts, providing a crucial ideological and emotional foundation for her later, more militant revolutionary commitments.
Suffragist, Trade Unionist, and Socialist Pioneer
Carney was a prominent suffragist, a committed trade unionist, and an active member of the socialist party, embodying a lifelong dedication to social and political activism. Her simultaneous engagement across these movements demonstrates an early understanding of intersectionality, recognising that women's liberation, workers' rights, and national independence were deeply interconnected. She joined the Women's Social and Political Union (WSPU) at a time when its militants were engaged in a campaign of arson attacks against Unionist-associated properties, highlighting her willingness to embrace radical tactics for social change.
A pivotal aspect of her career was her close collaboration with James Connolly, serving as his personal and union-branch secretary. In this capacity, she typed most of his articles for the labour press, including editorials for The Workers' Republic in early 1916, which built towards a call to arms. In 1913, Carney co-wrote the powerful Manifesto to the Linen Slaves of Belfast with Connolly. This "timely and hard-hitting" document exposed the horrific conditions of Belfast's linen mills, where predominantly women and children worked long hours for meagre wages. The manifesto's vivid language positions her not merely as an organiser but as a key intellectual and strategic force within the Irish labour movement, directly challenging the brutal realities of industrial capitalism.
Alongside Nell Gordon, a recruited mill worker, Carney was instrumental in keeping the Irish Transport and General Workers' Union (ITGWU) operational during Connolly's frequent absences from Belfast. During the great Dublin Lock-out in 1913, she and Gordon worked tirelessly to raise funds, provide practical support, and offer accommodation for locked-out workers who came to Belfast.
The Easter Rising: Aide-de-Camp to James Connolly
As a committed nationalist, Carney was one of approximately ten founding members of Cumann na mBan (League of Women) in 1914, serving as a women's auxiliary to the Irish Volunteers. She helped establish the Belfast branch and later became its President. She also joined the Irish Citizen Army (ICA), achieving the rank of Adjutant by 1916. The ICA was notable for its progressive stance, giving women "rank and duty just as if they were men." Her relationship with James Connolly deepened considerably; she became his close friend, confidante, and personal secretary.
A week before the Easter Rising, Connolly summoned Carney to Dublin. Having set out with the initial garrison party from Liberty Hall on Easter Monday, Carney, armed with both a typewriter and a Webley revolver, became the first woman to enter the General Post Office (GPO) during the Rising. Her dual role – armed combatant and indispensable typist/aide-de-camp – highlights her unique and multifaceted contribution. During the week of the Rising (24-29 April), she served as Connolly's aide-de-camp and famously refused to leave his side after he was wounded. On the morning of the final day, Friday 29 April, she took dictation for his stirring address to the assembled GPO rebels. Along with Julia Grenan and Elizabeth O'Farrell, Carney was one of the last women to leave the GPO, typing out the surrender notices. Her prominent role positions her as a central, yet historically often overlooked, figure in one of modern Ireland's foundational events.
Post-Rising Activism and Political Evolution
Following the Rising, Carney was interned and transferred to Aylesbury Prison in England. After her release, she continued to work for the ITGWU in both Belfast and Dublin. In 1917, she was chosen as the Belfast delegate to the National Convention of Cumann na mBan and elected President of the Belfast branch. In May 1917, she insisted on a feminist socialist platform as a female candidate. In 1918, Carney stood as a Sinn Féin candidate in the general election, one of only two female candidates nationwide.
However, she became disillusioned with the party and joined the Northern Ireland Labour Party in 1924. Her post-Rising trajectory reveals a consistent commitment to her core socialist and labour ideals, even as the political landscape of Ireland dramatically changed with the Anglo-Irish Treaty and Partition. As an active trade unionist, she notably sought support from both sides of the sectarian divide in Northern Ireland, demonstrating a pragmatic and principled approach to unity in a divided society.
Through her involvement in the trade union movement, she met and married a Unionist, an "unlikely bedfellow" given her firm Socialist Republican views. Carney's personal decision to marry a Unionist offers a powerful symbolic counter-narrative to the prevailing political and sectarian polarisation of the time, making her a particularly resonant and complex figure for contemporary Belfast. Carney lived to witness the partition of Ireland, a development that James Connolly had warned would lead to a "carnival of reaction."
Legacy and Historical Recognition
Winifred Carney died on 21 November 1943, at the age of 55, and is laid to rest in Milltown Cemetery, Belfast. Despite her pivotal roles, she was, in many ways, "written out of history." This explicit acknowledgement highlights a systemic issue in historical commemoration, particularly concerning radical female figures. The statue, therefore, functions as an act of historical redress, correcting past omissions.
Her memory and what she stood for are now being revived through public recognition, most notably with the unveiling of her statue. Her life and activism are increasingly recognised as pioneering battles for women's equality, inspiring "thousands of living legacies" in workplaces and communities across Belfast. Carney's enduring legacy is actively invoked by contemporary trade unionists and activists as a symbol for ongoing struggles for social justice, workers' rights, and a more equitable society. Her recognition, particularly at Belfast City Hall, signifies a maturation of Belfast's civic identity, allowing for a more complex and inclusive narrative that embraces previously contested figures.
The Winifred Carney Memorial: Symbolism and Public Recognition
The statue of Winifred Carney at Belfast City Hall is more than a mere likeness; it is a powerful symbol embedded within a specific historical and civic landscape.
Context of Memorials at Belfast City Hall
The grounds of Belfast City Hall serve as a significant site of public memory, hosting numerous memorials and statues. Historically, these have predominantly commemorated figures associated with military service, industrial prowess, or civic tragedies. The existing monuments reflect a specific, historically dominant narrative of the city, primarily focused on its industrial, military, and civic achievements, largely from a male and unionist perspective.
This context underscores the groundbreaking significance of the Carney statue as a deliberate departure from this traditional, often exclusive, historical representation. The historical composition of the City Hall memorials reveals a long-standing omission of significant female figures and diverse political narratives. The introduction of Carney's statue therefore represents a deliberate and transformative step towards a more inclusive and representative public history in Belfast, actively challenging and broadening the scope of what is deemed worthy of civic commemoration.
Unveiling and Significance on International Women's Day
The striking bronze statue of Winifred Carney, alongside that of Mary Ann McCracken, was officially unveiled on 8 March 2024, deliberately coinciding with International Women's Day. The statues are strategically located on the front lawn area of City Hall, positioned on either side of the statue celebrating Queen Victoria's Diamond Jubilee in 1897. The strategic timing and deliberate placement are highly symbolic choices, amplifying the message of female empowerment and historical recognition, creating a visual dialogue between imperial history and local, diverse narratives of social and political change. These statues are historically significant as they are the first non-royal women to be honoured with permanent figures in the grounds of Belfast City Hall.
The unveiling ceremony was a comprehensive celebratory event, featuring music, poetry, performances, and a panel discussion. It was attended by key figures including Belfast Lord Mayor Councillor Ryan Murphy and sculptors Ralf and Naomi Sander. Lord Mayor Ryan Murphy articulated the council's view that the statues provide "formal recognition... on behalf of the city" for "two of the most notable and influential women in Belfast's history." He highlighted that the installation marks an important step in implementing recommendations from a 2012 report aimed at creating a "good and harmonious environment" through City Hall displays. The statues are intended to "celebrate female achievement, inclusivity and the diversity of the people who have helped shape our city."
Design and Symbolic Representation of the Sculpture
The Winifred Carney memorial is a striking bronze, life-size figurative sculpture. Its design specifically reflects Carney's multifaceted contributions and key roles. She is depicted as a trade unionist, an adjutant in the Irish Citizen Army, and James Connolly's personal secretary and political confidante. The statue explicitly shows her in the uniform of the Irish Citizen Army, visually connecting her to her revolutionary armed struggle.
The deliberate choice to depict Carney in her Irish Citizen Army uniform, alongside visual cues to her roles as a trade unionist and Connolly's secretary, is crucial. This visually encapsulates the multifaceted nature of her activism, acknowledging her revolutionary armed struggle while simultaneously honouring her social and labour commitments, thus avoiding a simplistic or sanitised portrayal of her life. Ralf Sander, who led on the sculpture of Winifred Carney, expressed the aim to "capture the essence" of the women in the final pieces. This artistic decision contributes to a more complete and authentic historical representation, allowing the public to engage with the full breadth of her contributions, including those aspects that might have been historically controversial or overlooked.
The Commissioning Process
The commissioning of the Carney and McCracken statues followed a rigorous and transparent process. Plans for both statues were initially agreed upon in 2021, with the Strategic Policy and Resources Committee of Belfast City Council formally agreeing in March 2022 to advance the project to the Capital Programme. The Department for Communities provided match funding for the statue.
The artist selection process involved a multi-stage approach, culminating in the appointment of a selected artist in February 2023. A key aspect of the project involved agreeing upon and developing a clear "narrative and context" around the installation of the new pieces. This involved partnering with the Mary Ann McCracken Foundation and a "Winifred Carney subject matter expert" to ensure historical accuracy and appropriate messaging. The detailed, multi-stage commissioning process underscores the civic importance and sensitive nature of public art projects in Belfast.
The Artists: Ralf and Naomi Sander
The creation of the Winifred Carney statue was a collaborative effort by internationally acclaimed sculptor Ralf Sander and his daughter, Naomi Sander.
Ralf Sander's Background and Style
Ralf Volker Sander, born 15 December 1963 in West Berlin, is an internationally active sculptor. He studied fine art and art history at Berlin University of the Arts. His early works primarily focused on the human body, but since 2000, he has experimented with diverse materials and media, including film. He frequently integrates the participation of entire social groups into his working process, a concept he links to Joseph Beuys's term "Soziale Plastik" (Social Sculpture). This approach, where his work engages with and incorporates the broader social context, aligns well with the public art project at Belfast City Hall, which aims to foster a harmonious environment by reflecting the city's diverse history. His global experience includes serving as a visiting professor at the Academy of Fine Arts in Warsaw, a Reader at the University of Ulster in Belfast, and a professor for sculpture at Seoul National University.
Naomi Sander's Background and Contribution
Naomi Sander, Ralf's daughter, was the lead artist on the Mary Ann McCracken sculpture, while Ralf led on Winifred Carney's. Naomi's background is rooted in fine art, with a Bachelor's Degree in Fine Art (drawing and sculpture emphasis) from Otis/Parsons College of Art and Design in Los Angeles. She further pursued a Master's Degree in Landscape Architecture from the University of Southern California, demonstrating an interest in urban development, community engagement, and natural phenomena. Her diverse background, encompassing both fine art and landscape architecture, offers a holistic approach to public space and art integration. Her emphasis on collaboration aligns with the project's broader goals of fostering dialogue and trust in public memory.
Studio Sander & Sander Collaboration
The collaboration between Ralf and Naomi Sander as "Studio Sander & Sander" for the Belfast City Hall statues adds a unique dimension to the project. While Ralf led on the Carney sculpture and Naomi on McCracken's, their joint effort signifies a blend of established expertise and contemporary artistic vision. Ralf Sander commented that it was a "very rewarding project to deliver" and expressed hope that they had "captured the essence of both women in the final pieces." The father-daughter collaboration itself symbolises intergenerational dialogue, mirroring the project's aim to connect past legacies with present and future civic identity.
Conclusion
The unveiling of the Winifred Carney statue at Belfast City Hall represents a significant milestone in the city's ongoing journey towards a more inclusive and comprehensive understanding of its history. Carney emerges as a formidable figure whose life embodied a powerful confluence of Irish nationalism, labour activism, and women's rights advocacy. Her pivotal role in the Easter Rising, her pioneering efforts in trade unionism, and her unwavering commitment to social justice underscore her enduring relevance.
The statue, strategically placed and unveiled on International Women's Day, is not merely a static memorial but a dynamic symbol. It actively challenges historical omissions, broadens the traditional narrative of commemoration at City Hall, and signals Belfast's commitment to acknowledging the diverse contributions of all its citizens, including those previously overlooked or contested. The meticulous commissioning process and the collaborative artistic vision of Ralf and Naomi Sander have culminated in a powerful bronze tribute that captures Carney's essence, visually communicating her multifaceted legacy. This monument stands as a testament to her revolutionary spirit and serves as an educational beacon, fostering a deeper appreciation for the complex tapestry of Belfast's past and contributing to a more harmonious civic identity for its future.
GALLERY OF STARS
The Shifting Faces of Corporation Street: An Investigation into Glen Molloy's "Gallery of Stars"
1. Introduction: The Evolving Canvas of Corporation Street
Belfast's urban landscape is a dynamic canvas, with its street art serving as a vibrant, ever-changing chronicle of the city's pulse. Among its notable public artworks, Glen Molloy's "Gallery of Stars" on Corporation Street has captivated many since its emergence. My recent observations in late May 2025 indicated significant alterations to this installation: some portraits of celebrated figures appeared to have been removed or replaced, and at least one frame stood conspicuously empty. These changes prompt a deeper inquiry into the artwork's history and the forces that shape its existence.
Glen Molloy, an artist sometimes referred to as the "Belfast Banksy", is the creative force behind this series of portraits. His work, particularly in the Belfast docks area, initially appeared under a veil of anonymity, sparking public curiosity. The "Gallery of Stars" quickly became a point of interest, an open-air tribute to cultural icons. Yet, like all street art, it is inherently susceptible to the passage of time, environmental factors, and the dynamic artistic currents of the city. The very act of photographing such a gallery at different junctures, as has been done, transforms the observer into an informal archivist, capturing moments in the life of an ephemeral creation that official records might overlook. The specific mention of an empty frame in May 2025 is particularly compelling; it is not merely a substitution but a potential void, raising questions about artistic intent, an interrupted process, or plans yet to unfold. This discussion seeks to explore the origins of the "Gallery of Stars", identify the personalities initially depicted, investigate the nature of the changes observed in May 2025, and consider the potential reasons for these alterations within the vibrant and ever-changing context of Belfast's street art culture.
2. Glen Molloy: The Artist Behind the "Belfast Banksy" Moniker
Understanding the evolution of the "Gallery of Stars" necessitates an understanding of its creator, Glen Molloy. His artistic path is a fascinating narrative of transition and dedication. Molloy first made his mark as a legendary DJ in East Belfast during the early 1990s, pioneering the underground music scene in Northern Ireland. However, his passion for visual art, specifically painting, predates his musical endeavours, having its roots in the graffiti scene of the 1980s. It was during this period that he developed and honed his skills with aerosol paint, a foundation that would later inform his approach to street art. In more recent years, Molloy has applied this deep knowledge of graffiti techniques to the creation of murals that now adorn various locations across Belfast. When he publicly revealed his identity in November 2016 as the artist behind the burgeoning Corporation Street paintings, he was described as an "unemployed artist".
Molloy's motivations for his street art are deeply connected to a desire for urban rejuvenation and the presentation of positive cultural figures. He described the Corporation Street area at the time of the gallery's inception as "very badly run down," and expressed a long-held ambition: “I had always looked at the wall and said I was going to something monumental on it.” This aspiration to transform neglected urban spaces underscores a belief in art's capacity to alter perceptions and instil civic pride. His work often reflects his profound appreciation for music and the arts, frequently featuring icons such as David Bowie, the Beastie Boys, and Jack Nicholson. He has spoken of his desire for people to "see positive images of people they love or respect." The process of creating these works was described as painstaking, often undertaken at night and involving considerable physical effort, moments of error, and self-doubt. While perhaps more characteristic of his broader body of work, one source notes that a common theme in his art can be "masks" and the way "eyes can hide and reveal ourselves and allow us to change personalities from day to day", offering a potential lens through which to view his portraiture. Glen Molloy himself has stated that he transitioned from graffiti to pictorial murals because "a picture that speaks a thousand words seemed like a much better option compared to the thousands of words I had already written on the city walls." He emphasises the impact art can have on the urban landscape, enjoying painting faces in "dull and neglected spaces" so that thousands can see his work daily.
The moniker "Belfast Banksy" was bestowed upon him by locals intrigued by the mysterious appearance of his paintings. Molloy himself reacted to this comparison with humility, finding it "quite funny really and flattering too." Other accounts note that "he wouldn't aspire out himself" to such a title. His decision to come forward in November 2016, in an interview with UTV, was a significant step, moving him from anonymity to public recognition. This journey from the more clandestine worlds of underground music and graffiti to becoming a celebrated public artist mirrors a wider societal trend: the increasing acceptance and appreciation of street art as a legitimate and valuable art form. The "Belfast Banksy" nickname, while catchy and indicative of his impact, perhaps doesn't fully encapsulate Molloy's distinct artistic ethos, which seems less about the anonymous, often politically charged commentary associated with Banksy, and more focused on community enhancement and the celebration of cultural figures.
Beyond Corporation Street, Molloy's murals are visible throughout Belfast. Notable examples include a tribute to the Beastie Boys on Donegall Street, depictions of George Michael and Prince in South Belfast, and newer artwork at the Lagan Gateway Bridge. He has also been a participant in the esteemed "Hit The North" street art festival, further cementing his role in the city's contemporary art scene. To share his work, Molloy maintains a Facebook page titled "Glen Molloy Creative".
3. The Inaugural "Gallery of Stars": Portraits of 2016-2017 and the Fleeting Presence of Prince
The "Gallery of Stars" on Corporation Street began to materialise in late 2016. Reports from November of that year described paintings of famous faces "springing up on walls around the Belfast docks area," visible from Corporation Street, over the preceding six weeks. By January 2017, a significant collection of portraits had been documented, forming the initial iteration of the gallery.
The individuals featured during this early period, a blend of musicians and actors, reflected Molloy's interest in cultural icons. My own photographs of this installation in October 2017 consistently showed ten distinct portraits. However, early reports from November 2016 explicitly mention Prince among the initial subjects, suggesting his presence was indeed fleeting. If he was present, then the total number of individuals featured over time would have been eleven, even if only ten were visible at any given moment. This early roster included:
David Bowie (musician) - November 2016 / January 2017
Leonardo DiCaprio as Dom Cobb (from Inception) - November 2016 / January 2017
Prince (musician) - November 2016 (briefly featured, potentially replaced by early 2017)
Christopher Walken (actor) - January 2017
Adam Ant (musician) - January 2017
Harrison Ford (actor) - January 2017
Noel Gallagher (musician) - January 2017
Bruce Lee (actor/martial artist) - January 2017
Jack Nicholson (from "God Of Madness" – likely One Flew Over The Cuckoo's Nest or The Shining) - January 2017
Billy Casper (from Kes) - January 2017
Shaun (Simon Pegg from Shaun Of The Dead) - January 2017
This selection of figures, ranging from influential musicians like David Bowie and the potentially fleeting Prince to actors known for iconic roles in both cult and classic cinema, suggests a deliberate curatorial approach, aligning with Molloy's stated aim to depict "positive images of people they love or respect".
Notably, the gallery demonstrated its fluid nature from very early in its existence. By January 2017, it was recorded that a panel featuring Shaun (Simon Pegg), Dom Cobb (Leonardo DiCaprio), and David Bowie had replaced a previous artwork titled "DMC's Three Missed Calls". This early alteration is significant, as it establishes that the "Gallery of Stars" was never intended as a static, permanent installation but rather as an evolving canvas. This precedent of change, occurring within months of the gallery's inception, normalises the idea that further modifications would be likely over the subsequent years.
The consistent presence of ten figures in my October 2017 photographs, despite an early report mentioning Prince, strongly suggests that his portrait was indeed a very early, perhaps ephemeral, inclusion that was subsequently replaced. It's plausible that Prince was an initial subject on Corporation Street, perhaps later repainted or replaced, or that the South Belfast piece, a distinct Glen Molloy mural commemorating both Prince and George Michael (documented in February 2017), was a separate, subsequent tribute. The fact that many lists now consist of eleven people further supports the notion that Prince was part of the original, broader collection of Molloy’s Corporation Street works, even if his presence on a given day was limited. This highlights the transient nature of street art and the challenges of documenting its precise history.
4. An Evolving Canvas: Investigating the May 2025 Alterations
The core of the present inquiry stems from observations made in late May 2025, which indicated that Glen Molloy's "Gallery of Stars" on Corporation Street had undergone further transformations. These changes reportedly included the removal or replacement of some previously featured portraits and the appearance of at least one empty frame.
It is important to state that, while the available research material provides extensive information on Belfast's street art scene, including activities up to May 2025, none of the documents specifically confirm or provide visual documentation of all the precise changes to this particular Corporation Street gallery as observed at that time. Targeted searches of Glen Molloy's social media (Glen Molloy Creative) and general street art blogs did not yield specific posts detailing all these May 2025 alterations to the "Gallery of Stars".
However, new information has confirmed several additions to the gallery. A portrait of singer Amy Winehouse by Glen Molloy was present on Corporation Street by 29 February 2024. Alongside the Amy Winehouse portrait, a new panel featuring musician Terry Hall, also by Glen Molloy, was reportedly located next to the Winehouse piece. More recently, by July 2024, a mural of Princess Leia (Carrie Fisher) had also appeared on Corporation Street. One source attributes the Princess Leia mural, and other celebrity murals in the area including one of Harrison Ford (who was also part of the original 2017 gallery), to "talented students from the Art College". This attribution raises questions, particularly as the style of the newer pieces may differ, and Glen Molloy is the established artist of the "Gallery of Stars" and the confirmed artist of the Amy Winehouse and Terry Hall portraits. These additions, with their varying attribution for the Princess Leia piece, predated the May 2025 general observations of other changes and the empty frame, indicating that the gallery's evolution is an ongoing process, potentially involving both the original artist and possibly other contributors or projects.
The most significant contextual factor for understanding widespread street art changes in Belfast during May 2025 is the "Hit The North" (HTN) street art festival. This annual event, which took place over the May bank holiday weekend (1st-5th May 2025), is a major undertaking that brings numerous local and international artists to the city to create new murals. The festival's explicit aim is to transform public spaces and rejuvenate areas, often involving the replacement of older pieces or the creation of art in new locations across the city, particularly in areas like the Cathedral Quarter but with a broader city-wide impact. As noted, "The festival may only last for a weekend, but its impact resonates the rest of the year". The sheer scale of HTN, featuring "60 local and international artists" and aiming to "beatify hundreds of walls", inevitably means a high turnover of street art. The Corporation Street gallery, being an established piece by a prominent local artist, would be a natural candidate for inclusion in festival-related activities, whether through Molloy himself creating new work there or the space being allocated to other artists as part of the festival's "difficult curatorial decisions" regarding limited wall space and budget.
In the absence of direct statements from the artist about all specific May 2025 changes, plausible reasons can be inferred from the general practices within the street art world and the local Belfast context:
Artist's Own Evolution: Molloy may have decided to update, refresh, or entirely change his own work at this location, as evidenced by the Amy Winehouse and Terry Hall additions.
Collaborative or Student Projects: The attribution of the Princess Leia mural to art college students suggests that the space may also be used for educational or collaborative art projects.
Commissioned Changes: New works might have been commissioned for the space by property owners or other entities.
Deterioration: Street murals are constantly exposed to the elements. After more than eight years (from late 2016 to May 2025), natural degradation could necessitate repair, replacement, or removal.
Festival Interventions: As discussed, the space could have been part of the "Hit The North" 2025 programme for other changes observed in May 2025. New art created for the festival often replaces existing pieces. The Paddy Duffy Collection, for instance, documents new paste-ups and murals by other artists appearing in Belfast city centre around May 2025, associated with HTN.
Urban Development/Regeneration Projects: While no specific information points to development on Corporation Street at this exact time, urban regeneration efforts can lead to mural alterations. There is precedent in Belfast for murals being repainted if deemed "detrimental to regeneration".
The observed "empty frame" in May 2025 is particularly intriguing. It could signify:
A piece temporarily removed for repair or refreshing, similar to a documented instance where another Belfast art piece, the Miriam Daly board, was "temporarily taken down while the frame was painted".
A space awaiting a new artwork, essentially a work in progress.
A portrait that was damaged beyond simple repair and subsequently removed.
An intentional artistic statement, though this is harder to ascertain without further context from the artist.
The lack of a specific statement from Glen Molloy (within the reviewed materials) regarding all of these particular changes means the precise reasons remain speculative. However, the intense activity surrounding the "Hit The North" festival in May 2025 provides the most compelling backdrop for some of these transformations, while the earlier appearance of the Amy Winehouse, Terry Hall, and Princess Leia portraits confirms the ongoing engagement with the site, potentially by multiple artists or groups. Changes to street art are not always accompanied by public announcements from the original artist, sometimes resulting from broader curatorial choices by festival organisers, decisions by property owners, or even unforeseen circumstances like damage.
5. The Nature of Street Art in Belfast: A Scene in Flux
The alterations to Glen Molloy's "Gallery of Stars" are best understood when placed within the broader context of Belfast's dynamic street art environment. Ephemerality is a core characteristic of this art form. Murals are, by their very nature, often temporary installations, vulnerable to weathering, vandalism, being painted over to make way for new creations, or removal due to urban development. The description of murals and graffiti "blossoming out of the brick walls" in Belfast suggests a constantly regenerating artistic landscape. An artwork that has been in place for over eight years, like the "Gallery of Stars," would naturally be a candidate for refreshment or replacement in such a fluid setting.
Festivals like "Hit The North" are significant drivers of this renewal. These events are specifically designed to introduce new art to the city, which inherently involves a turnover of existing pieces. The festival organisers themselves acknowledge making "difficult curatorial decisions" due to the high demand for space and limited resources. This curated yet constantly changing "gallery" of the street is responsive to current cultural moments and artistic energies.
Street art in Belfast also plays a crucial role in conversations about regeneration and identity. Molloy's initial motivation to rejuvenate a "run down" area with his Corporation Street gallery aligns with this. Belfast has a long and potent history of murals, many of which were historically political in nature. Contemporary street art, including pieces like the "Gallery of Stars," often offers a "counter narrative" to these older forms, contributing to a "shared cultural identity" and brightening the urban experience. Initiatives like the Belfast Canvas project, which transforms utility boxes with art, further illustrate the city's commitment to using public art to "improve the look and feel of the city centre". The city's walls can be seen as a palimpsest, with layers of art and history continually being inscribed, erased, and re-inscribed, reflecting Belfast's own ongoing transformation.
Finally, the artist's prerogative is a key factor. Artists may choose to revisit, alter, or entirely remove their own work for a multitude of artistic reasons, reflecting their evolving style, new inspirations, or simply the desire to create something new in a familiar space, as seen with Glen Molloy's additions of the Amy Winehouse and Terry Hall portraits. The appearance of murals attributed to other artists, such as the Princess Leia piece, also highlights that public art spaces can be dynamic and host the work of multiple creators over time. While a piece like the "Gallery of Stars" may become well-loved by the public, its permanence is never guaranteed. There is an inherent tension in street art between the desire for preservation of favoured works and the drive for renewal and fresh expression that keeps the scene vibrant.
6. Conclusion: Understanding the Gallery's Journey
Glen Molloy's "Gallery of Stars" on Corporation Street emerged in late 2016, quickly establishing itself with a striking roster of celebrity portraits that resonated with the public. From its early days, the installation showed signs of being an evolving entity, with at least one documented instance of a panel being replaced shortly after its initial appearance. This inherent dynamism set the stage for future transformations. The strong indication that Prince was an original, albeit brief, feature means that while ten individuals might have been visible at any given time, the total number of distinct subjects over the gallery's initial period was indeed eleven.
The confirmation of an Amy Winehouse portrait by Glen Molloy, present by February 2024, the additional information about a Terry Hall panel also by Molloy, and the appearance of a Princess Leia mural by July 2024 (attributed by one source to art college students) underscores that the gallery has been actively updated and has seen contributions from various sources. The subsequent observations from late May 2025, detailing further removed or replaced portraits and an empty frame, confirm the gallery's continued evolution. While the specific reasons for all these particular changes are not explicitly detailed in the available information, the broader context of Belfast's vibrant street art scene provides a strong framework for understanding these developments. The "Hit The North" street art festival, a major annual event that concluded in early May 2025, is a significant contemporaneous factor that could explain some of the changes observed in late May 2025, fostering an environment of widespread artistic renewal and transformation across the city. It is plausible that some of the changes to the "Gallery of Stars" observed are linked to this festival, whether through Molloy himself updating his work further, the space being incorporated into the festival's broader programme, or simply as part of the natural lifecycle of street art. The empty frame, in this context, could signify a work in transition – perhaps awaiting a new piece or undergoing refurbishment, a common occurrence in the management of public art.
Glen Molloy, the "Belfast Banksy," has made a notable contribution to the city's visual landscape. His "Gallery of Stars" stands as an example of street art that has not only beautified an urban space but also sparked curiosity and dialogue, embodying the transient yet impactful nature of the art form. The journey of this gallery, marked by additions like the Amy Winehouse, Terry Hall, and Princess Leia portraits, the fleeting presence of Prince, and other observed changes, is a testament to how public art interacts with and reflects the pulse of a city, sometimes involving multiple artistic hands over time.
This investigation, prompted by careful observation, itself becomes a snapshot in the ongoing story of the "Gallery of Stars." The artwork will likely continue to change, reflecting new artistic impulses and the evolving character of Belfast. Such inquiries and the public engagement they represent are vital for appreciating and understanding the rich, ephemeral tapestry of street art and its role in contemporary urban culture.
WATERFRONT AT NIGHT
AFTER DARK AT LAGAN WEIR AND NEARBY [I USED A LEICA Q3]
Exploring Belfast After Dark: A Handheld Night Photography Journey at Lagan Weir
This was my first attempt at night photography without a tripod, relying solely on my Leica Q3. I rarely use tripods or flash, and despite the challenging weather, I was keen to capture Belfast's nocturnal beauty.
The Illuminated Canvas of Belfast's Waterfront
As dusk settles over Belfast, the Waterfront and Lagan Weir areas undergo a remarkable transformation. The city's urban landscape, a testament to significant regeneration, becomes a vibrant and illuminated spectacle, offering a compelling canvas for photographers. This district seamlessly blends striking modern architecture with enduring historical and industrial heritage. The strategic lighting brings these elements to life, creating a dynamic and visually rich environment.
The River Lagan, a central artery of the city, acts as a magnificent natural mirror, reflecting the myriad of urban illuminations. This interplay of artificial light, diverse architecture, and shimmering water creates a particularly mesmerising ambience, ripe for creative and impactful photographic capture.
Iconic Night-Time Vistas: Prime Photographic Locations
This section details specific landmarks and areas within the Waterfront and Lagan Weir district, highlighting their unique visual characteristics and photographic potential after dark.
Lagan Weir and Its Dynamic Bridges
The Lagan Weir, an impressive engineering feat, spans the River Lagan between the Queen Elizabeth Bridge and the M3 cross-harbour bridge. This dynamic structure, equipped with five flap gates, plays a crucial role in controlling the river's water levels. The accompanying footbridge is an exceptional photographic subject, primarily due to its sophisticated and highly controllable RGBW (Red, Green, Blue, White) LED lighting system.
This extensive system incorporates over 500 metres of linear LEDs integrated into the handrails and along the underside of the bridge. Additionally, there are 31 in-ground frosted glass LED spots delineating the footpath, 24 RGB LED spots illuminating the piers and the water below, 47 vertical linear LEDs positioned between the handrail stanchions, 24 RGBW wall washers behind the pier house glass, and over 40 metres of linear LED bench lighting. A key feature of this illumination is that "every 7-metre section is independently controllable," and indeed, all individual lights and benches are "individually controllable."
This advanced, controllable lighting system allows the bridge to display a vast array of colours and dynamic lighting effects, making it an outstanding subject for long-exposure photography. Photographers can capture vibrant light trails from passing boats or vehicles on nearby bridges, as well as stunning, ever-changing reflections on the water. The footbridge itself also serves as an excellent vantage point, providing elevated perspectives for panoramic cityscapes that can encompass the illuminated weir and surrounding structures. This level of control and the dynamic nature of the lighting offer endless variations for artistic expression.
The Lagan Weir's function as a "dynamic structure" vital for water level control and "flood protection," combined with its aeration equipment for water quality improvement, suggests that its lighting patterns might occasionally reflect its operational status or broader environmental themes. This presents an opportunity for a photographer to explore a narrative of urban engineering and environmental regeneration through the changing lights, adding a unique, storytelling dimension to their imagery.
Waterfront's Public Art and Architectural Gems
Beyond the major landmarks, the Waterfront area is adorned with various public art installations and architectural gems that come alive under evening lights.
The Big Fish (Salmon of Knowledge)
This impressive 10-metre-long printed ceramic mosaic sculpture, created by John Kindness, is a vibrant and unique piece of public art located prominently on the riverbank near the Lagan Weir Pedestrian and Cycle Bridge. It is explicitly mentioned as being "beautifully lit up blue and white" at night, making it a "stunning" and colourful subject. Each of its ceramic scales intricately depicts moments from Belfast's history, offering opportunities for both wide shots and detailed close-ups that highlight its historical narrative. The mosaic surface, combined with its illumination, provides an opportunity for macro or detailed night photography, focusing on the historical narratives embedded within its scales, extending beyond just its overall form.
Custom House
Standing elegantly opposite the west end of Lagan Weir is the Custom House, a Victorian building constructed in the Italianate style by Charles Lanyon. Known for its "neoclassic architecture and fine acoustics," it also hosts regular outdoor musical events. Its traditionally ornamental façade provides excellent photographic opportunities, particularly when illuminated at night. It can be effectively framed in compositions with the nearby Albert Memorial Clock Tower. The Custom House, with its Victorian Italianate style, offers a strong architectural contrast to the modern, often LED-lit, structures in the Waterfront area. Photographing it at night allows for highlighting this historical elegance through selective lighting, providing a counterpoint to the contemporary aesthetic and enriching the visual narrative of Belfast's development.
Obel Tower
At 85 metres tall, the 27-storey Obel Tower stands as Ireland's tallest storeyed building, dramatically dominating the Belfast skyline from Donegall Quay, adjacent to the River Lagan and Lagan Weir. Its imposing height and sleek modern design make it a striking vertical element in night cityscapes, with its internal and external lighting contributing significantly to the overall Belfast skyline. Its status as Ireland's tallest building makes it an ideal subject for exploring perspective and scale in night photography. Its verticality can be emphasised through wide-angle shots looking up, or it can serve as a dramatic backdrop in panoramic cityscapes, especially when its lights reflect on the Lagan.
Queen's Bridge & Queen Elizabeth Bridge
The Queen's Bridge, also designed by Charles Lanyon, and the adjacent Queen Elizabeth II Bridge are vital crossings over the River Lagan. These bridges offer classic night photography opportunities for capturing dynamic light trails from passing vehicles and their vibrant reflections on the water's surface. Views from these bridges can also serve as excellent frames for other illuminated landmarks along the waterfront. The presence of multiple illuminated bridges, especially those with traffic, provides a dynamic element for long-exposure photography, allowing for the creation of "light trails" from moving vehicles. This contrasts with static architectural shots and adds a sense of movement and urban energy to the night scene.
Belfast Barge
Moored on the River Lagan, the Belfast Barge is a unique floating museum that also functions as a live music venue. It is equipped with its own "full PA and lighting system," making it an intriguing subject for night photography, particularly for capturing its reflections on the water. Hydrobike tours also pass by this distinctive vessel, adding another layer of dynamic light and movement to the scene. The Belfast Barge offers a unique, often overlooked, photographic subject due to its floating nature and potential for internal and external illumination. Its dual function as a museum and event venue means its lighting can vary, offering dynamic and potentially colourful displays that contrast with the static lights of surrounding buildings, and the Hydrobikes add a novel moving light element on the water.
STRANMILLIS LOCK
THE LOCK AND PEDESTRIAN BRIDGE AT STRANMILLIS [THE RIVER LAGAN 27 MAY 2025]
The Lagan, Stranmillis, and the River Walk: A Blend of Progress and Persisting Problems
My recent visit to Belfast on 27th May 2025 offered a fresh perspective on the ongoing development along the River Lagan. While significant progress has been made in enhancing the city's riverside, particularly around Stranmillis, the persistent issue of graffiti continues to detract from these valuable public spaces.
The Lagan Gateway scheme has been instrumental in transforming the riverfront. During my previous visit in 2022, I was just a few days shy of witnessing the opening of Belfast's first new navigation lock in over 250 years. This lock, situated beneath the Stranmillis Pedestrian and Cycle Bridge (which opened in September 2021), is a testament to the city's commitment to revitalising its waterways. The broader scheme also included crucial refurbishments to the existing weir, along with thoughtful landscaping and the creation of new path connections, all designed to improve accessibility and enjoyment of the river.
I highly recommend exploring the Lagan Towpath to anyone visiting Belfast. A walk as far as the new Stranmillis Pedestrian Bridge provides an excellent vantage point to appreciate the scale of these developments. However, it's impossible to ignore the pervasive problem of poor-quality graffiti that unfortunately blights much of the river walk. Despite the considerable time and effort invested in developing these pathways, the sheer volume of meritless tagging is disheartening. I was particularly struck by one instance of graffiti on what appeared to be an almost impossibly high and inaccessible section of the bridge structure, raising questions about how such vandalism occurs.
The contrast between the impressive infrastructure improvements and the widespread graffiti highlights an ongoing challenge for urban development. While the Lagan Gateway scheme has undeniably enhanced the aesthetic and recreational value of the river, the issue of vandalism demands further attention to ensure these valuable public amenities can be fully appreciated by all.
SOPHI ODLING
STREET ART AT YORK LANE - ULSTER UNIVERSITY CITY CAMPUS [THE MOST NOTABLE BEING BY SOPHI ODLING FROM AUSTRALIA]
Street Art at York Lane, Ulster University City Campus
The area around York Lane and York Street in Belfast is a dynamic showcase for public art, with an array of murals and installations enriching the urban environment.
A particularly striking addition to the street art scene in York Lane is a substantial mural by Sophi Odling, an Australian artist celebrated for her bold, large-scale works that inject colour and vitality into cityscapes globally. Odling's mural, entitled "Tomorrow," was created in York Lane (specifically behind the D block of the new Ulster University building) as part of the "Hit the North 2024" festival. The artwork beautifully portrays a young person dreaming of their future endeavours, weaving a narrative inspired by the diverse people, cultures, and environments the artist encounters.
Born in Seoul, South Korea, in 1983, and raised in Sydney, Australia, Sophi Odling transitioned to mural painting in 2017 after a 14-year career in the fashion industry. Her vibrant creations champion cultural diversity, youthfulness, and open-mindedness, acting as a powerful call to embrace unity, curiosity, and the shared beauty of our global community. Her murals can be found on walls across Europe, the Middle East, the Americas, Southeast Asia, and Australia.
OLD CHURCH IN DUNDONALD
ST ELIZABETH'S OLD CHURCH IN DUNDONALD [THIS TIME I MANAGED TO GAIN ACCESS TO THE CHURCHYARD]
St. Elizabeth's Old Church and Graveyard, Dundonald
St. Elizabeth's Old Church and its surrounding graveyard in Dundonald, Northern Ireland, are profoundly significant, historically and communally. This site, the area's original burial ground and a continuous place of worship for centuries, is on Church Green, off Church Road, next to the historic Dundonald Motte and Moat Park. This proximity highlights its deep medieval roots.
Its enduring presence, from ancient origins to its role as an active modern parish, demonstrates remarkable community and religious resilience despite historical upheavals and urbanisation. The site's continuous occupation and adaptation, even after periods of destruction and rebuilding, show it has been more than a place of worship. It has served as a central anchor for community identity and memory, adapting to changing population needs over time.
The unique character of St. Elizabeth's comes from the dual presence of its historic and modern structures. The original, now derelict, church building stands within the medieval graveyard, while a newer, active church, built in the 1960s, stands beside it. This juxtaposition offers a tangible timeline of the parish's evolution and its lasting community role. Observing people tending graves in the old churchyard further highlights a living connection to this ancient site, inviting a closer look at ongoing burial practices and site maintenance.
The Enduring Legacy of St. Elizabeth's Old Church Graveyard
Medieval Roots and Early History
St. Elizabeth's Church Graveyard is Dundonald's first graveyard, with its origins firmly in the medieval period. Archaeological evidence suggests the church building was initially constructed as early as the 14th century. Its antiquity is further emphasised by its immediate proximity to the Dundonald Motte, an impressive earthwork over 10 metres high. Historical records, including the church's mention in the Papal Valuation of Dondafnald in 1306, confirm its existence by this early period.
Historical accounts suggest the original church was likely destroyed during the Bruce invasion (1315-1318), which also led to the destruction of the motte and bailey. A subsequent inquisition in 1333 reported no buildings in the manor due to war damage. Records are scarce until the 17th century, when the church is described as ruined in the Ulster Visitation Book of 1622. However, a map from 1625-26 by Thomas Raven depicts a roofless church, and an inscription on the 19th-century church tower indicates a rebuilding in 1624, though 1634 is more widely accepted. Subsequent rebuildings occurred in 1771, with a tower added in 1774, and again in 1838.
The 19th-century structure, which still stands within the graveyard today, became redundant with the new church's construction. The repeated destruction and rebuilding of the church throughout its history, particularly after the Bruce invasion, underscore its profound significance as a community focal point. This persistent commitment to its re-establishment, despite adversity, demonstrates deep cultural and spiritual attachment to the site, marking it as a continuous symbol of community identity and resilience through centuries of change and conflict.
Archaeological Insights into Past Burials
In 2007, Queen's University Belfast's School of Geography, Archaeology and Palaeoecology, through its Centre for Archaeological Fieldwork, undertook an eight-week excavation and examination of the old church and graveyard. This project, funded by the Northern Ireland Environment Agency, aimed to assess the archaeological potential within the former 19th-century church building. The excavation revealed that the area within the church building had been used for human burial before the present redundant church was constructed. A total of 55 articulated human skeletal remains were recovered, alongside a significant quantity of disarticulated human bone.
Detailed analysis of these remains indicated a burial phase likely between the late 15th and mid-17th centuries AD. Burials were generally found in a supine position, facing east, though some variations existed, such as a juvenile burial in a flexed position. Evidence of both shroud and coffin burials was discovered, with some instances where bodies appeared to have been wrapped in a shroud and then placed within a coffin. Notably, coins were found with two child burials, likely deposited between the early 1640s and mid-1650s, providing crucial dating evidence. The excavated population included individuals of all ages and sexes, with a high proportion of infants and no discernible separation based on sex or age within the burial ground.
Osteological analysis provided insights into past health and societal conditions, revealing evidence of diseases such as rickets, scurvy, and degenerative joint disease, as well as violent trauma in some male skeletons. The excavated remains are slated to be returned to the Church of Ireland at St. Elizabeth's Church for reinterment. The archaeological findings, particularly the presence of coins dating to the mid-17th century within burials inside the church, suggest that interments continued within the church building even after its 1634 reconstruction. This indicates a complex and evolving use of sacred space, where the physical structure, even when rebuilt, retained its function as a burial site, reflecting a continuity of tradition and perhaps the high status associated with burial ad sanctos (near the saints or within the church).
The Cleland Mausoleum and its Connection to Stormont Castle
A prominent feature within St. Elizabeth's Church Graveyard is the Cleland Mausoleum, a substantial memorial erected in 1842 to Samuel Cleland. This impressive structure was commissioned by his wife at a considerable cost of £2,000. A key aspect of the mausoleum's design and placement was its deliberate height, chosen so it could be seen from the Cleland family home, Stormont Castle.
Stormont Castle itself has a rich history, having been built around 1830 for the Reverend John Cleland, Samuel's father. Samuel Cleland inherited the estate in 1834 but met a tragic end in 1842 while overseeing wall demolition on the grounds. His widow, Elizabeth, subsequently managed the Stormont Estate until approximately 1860. During her tenure, the initially plain house underwent extensive transformation into the Scots Baronial 'Stormont Castle' through the addition of extensions, turrets, and towers. The Cleland family continued to reside at Stormont Castle until 1893, after which the mansion was rented out and eventually purchased by the newly-formed Northern Ireland Parliament in 1921 for £21,000, becoming a significant governmental building.
The deliberate placement and significant cost of the Cleland Mausoleum, visible from Stormont Castle, reflect not only a profound personal memorial but also a powerful statement of the Cleland family's social status, wealth, and enduring influence within the Dundonald landscape. The expenditure of £2,000 in 1842 was an immense sum, indicative of considerable wealth, and the choice to make the mausoleum visible from their family seat served as a permanent, public testament to the family's presence, power, and legacy, reinforcing their social standing and desire for a lasting imprint on the area.
The Opening of Dundonald Cemetery
Despite its long history, St. Elizabeth's Church Graveyard was relatively small. By the late 19th century, Belfast's population was experiencing rapid growth, placing immense pressure on existing burial grounds across the city. Recognising the urgent need for more grave space, Belfast City Council, then known as the Belfast Corporation, decided in 1895 to establish a larger municipal burial ground. Consequently, in 1897, 45 acres of land at Ballymiscaw, Dundonald, were acquired for £5,600.
The larger Dundonald Cemetery officially opened on 19th September 1905, with the first burial taking place on that date. This development marked a significant shift in burial provision for the burgeoning urban area, transitioning from smaller, church-managed graveyards to larger, municipally-run cemeteries designed to accommodate a rapidly increasing population. The transition from St. Elizabeth's Old Church Graveyard to the larger Dundonald Cemetery exemplifies a broader societal shift from localised, church-centric burial practices to a more centralised, municipal approach driven by rapid urbanisation and public health concerns. This move from ecclesiastical control to a public health and civic responsibility was a common trend in industrialising cities across the United Kingdom.
The Modern St. Elizabeth's Church: A Living Parish
Construction and Evolution
The current St. Elizabeth's Church building, situated directly beside the old churchyard, functions as an active Anglican Christian parish church under the Church of Ireland. This modern structure was rebuilt on a new site adjacent to the original in 1966, specifically to accommodate an increased congregation. The 19th-century church building, which still stands within the graveyard, became redundant following the construction of the new church and was subsequently repurposed as a parish hall. At the time of the 2007 archaeological excavation, it was noted to be in a poor state of repair. More recently, in 2014, the modern church building underwent further construction, which included significant enhancements such as a new car park and an updated front exterior.
The construction of the new church in 1966, driven by an "increased congregation," demonstrates the ongoing vitality and adaptive capacity of the St. Elizabeth's parish in response to population shifts and community growth in Dundonald. This indicates that St. Elizabeth's is not merely a historical relic but a thriving religious institution that has adapted its physical infrastructure to meet the evolving needs of its parishioners, growing with Dundonald as it expanded into a suburb of Belfast.
Community and Worship
St. Elizabeth's Church actively serves its local congregation through regular Sunday services, including a 10:30 am morning service that typically lasts approximately 1 hour and 10 minutes. Embracing modern outreach methods, this service is also streamed online via the church's YouTube Channel. Recognising the importance of family engagement, the church provides a crèche for young children and various Sunday School programmes during term time. Additionally, an informal evening gathering known as "TASTE" takes place at 6:30 pm, incorporating music, food, and Bible exploration, thereby fostering friendship and faith within the community. These diverse activities highlight the church's role as a vibrant community centre that extends beyond traditional Sunday worship.
Burials in the Old Churchyard: Current Practices and Family Plots
Understanding Historic Graveyard Practices
Historically, churchyards such as St. Elizabeth's were the primary burial grounds for local communities, often with families holding perpetual rights to specific plots. Over time, as populations grew and available space became limited, many older churchyards ceased offering new plot sales but frequently continued to permit interments in existing family graves. This approach allowed for the continuation of familial connections to ancestral burial sites.
St. Elizabeth's Old Churchyard's Status and Continued Interments
The observation of someone tending a grave in the old churchyard directly addresses a pertinent question about ongoing burials. While St. Elizabeth's Church Graveyard was indeed the first in Dundonald and its relatively small size led to the opening of the larger Dundonald Cemetery in 1905, this does not necessarily mean that burials have ceased entirely at the older site. The Church of Ireland website lists "Dundonald St Elizabeth, Diocese of Down & Dromore" as an "active Anglican Christian parish church," and the graveyard is described as part of this active parish. This designation implies ongoing management and, very likely, continued use for existing family plots.
A significant parallel can be drawn with Dundonald Cemetery, which, despite opening in 1905 and being a "closed cemetery" for new plots, explicitly states that "burials still take place in existing graves." Given the historical context and practices of churchyards, it is highly probable that St. Elizabeth's Old Churchyard operates under a similar principle: new plots are not available, but interments continue for those with pre-existing family rights within established graves. The reinterment of the human remains excavated by Queen's University Belfast archaeologists by the Church of Ireland at St. Elizabeth's Church further confirms the church's ongoing custodianship and the site's continued function as a place of burial. The continued tending of graves and the reinterment of excavated remains, despite the opening of a larger municipal cemetery, highlight the enduring cultural and familial significance of the original churchyard as a place of ancestral connection, rather than merely a historical relic. The act of tending a grave is a deeply personal and familial ritual, signifying an ongoing connection to ancestors, and the policy of allowing burials in existing plots preserves this intergenerational link, demonstrating profound respect for the deceased and the sacred nature of the ground.
Accessing Burial Records
For records pertaining to burials in Dundonald Cemetery, which opened in 1905, Belfast City Council provides an online search facility for records from that year onwards. This facility allows users to search by surname, forename, or year of death/burial and provides details such as full name, age, last place of residence, date of burial, and grave location. However, St. Elizabeth's Old Church Graveyard is notably not listed among the cemeteries for which Belfast City Council holds records. This strongly suggests that records for the old churchyard are likely maintained directly by the St. Elizabeth's Church of Ireland parish itself, or potentially by local historical societies. Accessing these older, church-held records would typically require direct contact with the parish or a visit to local archives, as they are not centralised in the same manner as municipal cemetery records. The Northern Ireland Family History Society (NIFHS) may also hold or direct individuals to relevant graveyard records for various counties.
Maintenance and Financing of the Site
Responsibilities for Historic Churchyards
The maintenance and financing of historic churchyards typically involve a shared responsibility between ecclesiastical bodies, in this case, the Church of Ireland, and, increasingly, local authorities, especially where sites hold public access or significant heritage value. The Church of Ireland, as the governing body for St. Elizabeth's parish, holds primary responsibility for the upkeep of its church and the associated churchyard. This encompasses general grounds maintenance, structural repairs to the old church building, and ensuring the site remains accessible and respectful.
Local Authority Involvement
While St. Elizabeth's Old Church Graveyard is a Church of Ireland property, the local council, Lisburn and Castlereagh City Council (LCCC), manages the adjacent Moat Park, including its maintenance and events. LCCC also operates a Cemeteries Administration Office responsible for the general management, regulation, and control of several other cemeteries within its jurisdiction, such as Lisburn New Cemetery and Blaris Old Graveyard. However, St. Elizabeth's Old Church Graveyard is not explicitly listed among the cemeteries directly managed by LCCC. This indicates that direct, day-to-day maintenance and financial responsibility for the churchyard primarily rests with the St. Elizabeth's Church of Ireland parish.
Nevertheless, local councils often have broader responsibilities for public spaces and heritage assets within their area. For instance, the Northern Ireland Environment Agency provided funding for the archaeological work conducted at the site, indicating a governmental interest in its preservation. Furthermore, the Commonwealth War Graves Commission (CWGC) lists "Dundonald (St. Elizabeth) Church Of Ireland Churchyard" as containing Commonwealth burials, implying their involvement in the maintenance of those specific graves. The division of responsibility for maintenance, with the Church of Ireland likely holding primary oversight and local councils and heritage bodies providing support for specific aspects (e.g., the adjacent park, archaeological work, war graves), highlights the complex governance model for historic sites that serve both religious and public functions. This multi-agency involvement, while potentially complex, also provides diverse funding streams and expertise, which is crucial for the long-term preservation of such a significant heritage asset.
Funding for Preservation and Maintenance
General maintenance of the churchyard, including groundskeeping and minor repairs, is typically funded by the St. Elizabeth's Church of Ireland parish through its regular income, donations, and dedicated fundraising efforts. For specific projects, such as the archaeological excavations, external funding bodies like the Northern Ireland Environment Agency play a crucial role. This underscores the importance of heritage grants for significant conservation or research initiatives. Individual families with plots in the churchyard traditionally maintain their specific graves, which accounts for the observation of grave tending. This personal investment in maintenance represents a significant, albeit decentralised, source of care for the site. For Commonwealth War Graves specifically, the Commonwealth War Graves Commission (CWGC) assumes responsibility for their maintenance.
Conclusion
St. Elizabeth's Old Church and Graveyard in Dundonald stands as a remarkable testament to centuries of local history, faith, and community resilience. From its medieval origins as Dundonald's first burial ground, enduring destruction and numerous rebuildings, to its present-day role as a cherished heritage site alongside an active modern parish, the site offers a rich tapestry of human experience. The prominent Cleland Mausoleum serves as a powerful reminder of the area's gentry and their lasting impact on the landscape, visible from the historic Stormont Castle. The opening of the larger Dundonald Cemetery marked a significant evolution in burial practices driven by urban growth, yet the old churchyard continues to hold deep familial and historical significance.
The ongoing presence of the active St. Elizabeth's Church, serving a contemporary congregation with modern services and programmes, ensures the site remains a living heart of the community. While new burials are no longer offered in the old churchyard, the continued tending of family plots and the reinterment of archaeological remains underscore its enduring role as a sacred space for remembrance and ancestral connection. The complex web of maintenance responsibilities, involving the Church of Ireland, local councils, and heritage bodies, reflects the multifaceted value of this site as both a religious institution and a public historical asset. St. Elizabeth's is not merely a collection of old stones but a dynamic nexus where past and present continually intertwine.
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