Louise Walsh’s Sculptures: Celebrating Women in Belfast

Louise Walsh is an acclaimed Northern Irish artist renowned for her evocative public sculptures that consistently challenge traditional narratives and celebrate the often-unacknowledged contributions of women to society. Two of her most significant works, “Mother, Daughter, Sister” and “Monument to the Unknown Woman Worker” (often referred to as “Working Women”), are prominently located in Belfast, each offering a poignant tribute to female resilience and their pivotal role in community life.

“Mother, Daughter, Sister” (2010)

Located in Sandy Row, a historic and predominantly loyalist working-class area of Belfast, “Mother, Daughter, Sister” is a bronze sculpture depicting a single female figure. This solitary form powerfully embodies the multiple, often interweaving, roles a woman fulfils within her family and community: as a mother, a daughter, and a sister.

The sculpture’s strength lies in its quiet dignity and reflective pose, representing the steadfastness and quiet fortitude of women who have sustained families and communities through challenging times, particularly during the period of the Troubles. It’s a profound recognition of the often-unseen burdens and strengths carried by women, offering a counter-narrative to the area’s male-dominated, politically charged history. By focusing on the enduring human spirit and the fabric of community life, the artwork highlights the resilience that persisted despite extraordinary circumstances, symbolising hope and continuity.

“Monument to the Unknown Woman Worker” (1992)

Situated on Great Victoria Street, adjacent to the iconic Europa Hotel in Belfast, “Monument to the Unknown Woman Worker” (also known as “Working Women”) is another powerful work by Louise Walsh. This sculpture features two working-class women engaged in conversation, their figures interwoven with symbolic representations of women’s labour.

The bronze surfaces of the sculpture are etched and integrated with various domestic and professional items: colanders, shopping baskets, clothes pegs, a typewriter, and a telephone. These details reflect the vast spectrum of work, both paid and unpaid, that women undertake, often without formal recognition. Unveiled in 1992, this piece was an early and significant public art statement by Walsh, foregrounding the diverse contributions of women to the economic and social fabric of Belfast. It stands as a powerful testament to the unsung heroines of everyday life, whose efforts are fundamental to society’s functioning.

Louise Walsh’s Artistic Vision:

Both sculptures exemplify Louise Walsh’s artistic vision. Her work is characterised by its figurative nature, exploring themes of identity, memory, and social history within the Northern Irish context. She creates pieces that are both accessible and thought-provoking, inviting viewers to reflect on their own lives and connections. Walsh’s style combines realism with a contemplative quality, ensuring her sculptures resonate deeply on an emotional level. Through her art, she consistently gives voice and visibility to the experiences of women, enriching Belfast’s public spaces with works that celebrate the enduring strength and vital contributions of its female population.

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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.

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The sculpture at Stormont, known as “Reconciliation,” is a poignant and significant artwork with a direct lineage to the renowned piece by Josefina de Vasconcellos. Its journey from conception to its current state at the Stormont Estate reflects various phases of development and adaptation.

Josefina de Vasconcellos’s ‘Reunion’ / ‘Reconciliation’

The original sculpture, by the British sculptor Josefina de Vasconcellos (1904-2005), was initially named ‘Reunion’ and unveiled in 1977 at the University of Bradford. This powerful bronze depicts two embracing figures, male and female, symbolising healing, reconciliation, and the overcoming of division. It was inspired by the suffering she witnessed during the Second World War and her deep belief in the power of forgiveness.

Copies of this profoundly moving work have been placed in several significant locations globally, most notably at the Hiroshima Peace Park in Japan (where it is known as ‘Reconciliation’) and at Salisbury Cathedral in England. The enduring message of hope and unity embedded within the sculpture has made it a potent symbol wherever it is displayed.

‘Reconciliation’ at Stormont

The sculpture at Stormont was commissioned by the Northern Ireland Office and is a replica of de Vasconcellos’s original work, sharing its powerful message in a context deeply resonant with its themes. It was intended to symbolise the ongoing peace process and the journey towards reconciliation in Northern Ireland.

When I photographed the site a few years ago it was as a work in progress with an incomplete water feature. The original design for the setting of the “Reconciliation” sculpture at Stormont envisioned it as the centrepiece of a contemplative space that included a significant water element. Water often symbolises cleansing, renewal, and a flow towards the future, making it a fitting complement to the sculpture’s message. However, the implementation of complex public art installations can be subject to various challenges, including funding, technical issues, and unforeseen delays. This often leads to phases where work appears to be suspended or incomplete.

My recent observation in May 2025, noting the completion of the site but the removal of the water element, points to a significant change in the final execution of the project. While the exact reasons for the removal of the water feature are not widely publicised, it is not uncommon for design elements in public spaces to be altered or omitted due to:

Maintenance considerations: Water features, while visually appealing, can be costly and challenging to maintain, requiring regular cleaning, filtration, and winterisation to prevent damage.

Operational issues: Problems with the pumping system, leaks, or even concerns about water safety or accessibility could lead to a redesign.

Budgetary constraints: The long-term costs associated with water features can sometimes exceed initial estimates.

Safety concerns: In some public spaces, water features can present slip hazards or other safety issues that lead to their removal or modification.

Design evolution: As a project progresses, the overall aesthetic or functional goals might evolve, leading to a decision that the water element no longer serves the intended purpose or detracts from the primary artwork.

Despite the change in its immediate surroundings, the “Reconciliation” sculpture at Stormont continues to stand as a powerful symbol of hope and the ongoing commitment to peace in Northern Ireland, drawing its profound meaning from Josefina de Vasconcellos’s original vision.

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I traveled by the Glider to Conn’s Water with the intention of visiting the CS Lewis Square but I also took the opportunity to explore a section of the Newtownards Road.

Derelict Ulster Bank Building

The former Ulster Bank building is located at 431-441 Newtownards Road, Belfast, BT4 1PG. It’s a three-storey building designed in 1918 by Blackwood & Jury. The building has a Neo-Georgian style, featuring a curved ground floor with a central doorway flanked by casement windows. Above, a canted two-storey bay with casement windows is flanked by pairs of sash windows. At roof level, there’s a balustrade with a central coat of arms. The building is constructed from Donegal Sandstone and polished black granite.

The Ulster Bank relocated from this building to Connswater Retail Park in early 1998. From March 1998 to March 2013, the building was leased to Ferris, Craig & Moore (FCM Partnership). It was offered for sale in 2013 and sold in October of the same year. The Orange Order occupied the building’s offices temporarily between December 2013 and June 2015 during refurbishment works at Schomberg House. The building was B2 listed in April 2016. In February 2021, a planning application was submitted to convert the upper floors into seven apartments.

Derelict Buildings on Newtownards Road

The Newtownards Road has suffered from dereliction, exacerbated by the Troubles and the closure of public buildings. Several factors have contributed to this decline:

Decline of heavy industry: This has reduced the disposable income of local residents.
Changing retail patterns: The development of shopping centres has drawn business away from the road.
Migration to the suburbs: People moved from inner East Belfast to outlying estates.
Regeneration efforts: Displacement of the local population during regeneration projects.
Other issues include a poor streetscape, lack of open space, and poor housing stock. The area is recognised as an area of deprivation. There have been calls for government investment to address the dereliction.

Recent reports mention that many shops are boarded up. Some suggest that businesses might be paying “protection money”. However, other reports indicate new businesses are opening and doing well.

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St Malachy’s Church, located on Alfred Street, a short distance from Belfast City Hall, stands as one of Belfast’s most distinctive and historically significant ecclesiastical buildings. Its foundation stone was laid on 3rd November 1841, and the church was dedicated on 15th December 1844 by Dr William Crolly, Archbishop of Armagh and Primate of All Ireland. It is the third oldest Catholic church in the city.

The church was designed by Thomas Jackson of Waterford, and it is celebrated as one of the finest examples of Tudor Revival architecture in Ireland. Its exterior strikingly resembles a Tudor castle, complete with arrow slits, octagonal towers, and pinnacles, leading some to affectionately refer to it as ‘The Citadel of the Faith’. The cruciform-shaped building measures 113 feet long, 52 feet wide, and 40 feet high.

However, it is the interior of St Malachy’s that truly captivates visitors. The highlight is undoubtedly its remarkable fan-vaulted ceiling, an exquisite imitation of the Henry VII Chapel in Westminster Abbey. This elaborate plasterwork has been described as “creamy, lacy and frothy,” resembling “a wedding cake turned inside out.” The original High Altar, pulpit, and altar rails were crafted from Irish oak but were replaced with marble during a renovation in 1926, though the original pulpit canopy remains. The sanctuary floor features a mosaic, predominantly in blue, with a depiction of a pelican – a common Christian symbol of sacrifice – at the foot of the altar. The church also boasts a gallery accessed by a double oak staircase and houses an organ by the renowned Telford family of Dublin, considered one of Ulster’s most important.

Originally intended to be the Cathedral Church of the Diocese of Down and Connor, capable of seating 7,000 worshippers, these grand plans were curtailed, partly due to the onset of the Great Famine. Over the years, the church has undergone several renovations, most notably a major refurbishment programme in the past decade which restored the building to its former glory. This extensive work, which included the replacement of approximately 30,000 handmade bricks and sensitive internal restoration, won numerous awards, including the Royal Institution of Chartered Surveyors NI Project of the Year Award 2010.

St Malachy’s Church remains an active place of worship and a significant landmark, drawing visitors for its architectural beauty and historical resonance.

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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.

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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.

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Back in 2016, I struggled to photograph the Sweet Water Arch due to intense rain, which also forced me to abandon my exploration of the area. This year, I encountered similar weather, but thankfully, better rain gear and a more robust camera allowed me to spend a good two hours in the vicinity.

The name, Sweet Water Arch, is a direct translation from the Irish for the area, ‘An Srúthan Milís’, meaning ‘sweet stream’.

You’ll find the sculpture in the car park next to the Lyric Theatre, opposite Governor’s Bridge and across the road from Stranmillis College.

The arch symbolises several local connections: it links the communities on both sides of the river, represents the theatrical ties with the Lyric Theatre, and embodies the flow of the river itself. It also incorporates design elements from the frontage of Stranmillis College, which was designed by Charles Lanyon. It’s often suggested that the chair within the sculpture symbolises the college as a seat of learning. I also spotted a pair of oars – I wonder if there’s a rowing club nearby?

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Titanica is a striking bronze sculpture situated prominently outside the Titanic Belfast visitor attraction in the Titanic Quarter.

It depicts a diving female figure, mounted on a slender base.
The sculpture draws inspiration from the traditional figureheads that adorned the prows of sailing ships.

It was created to represent hope and positivity, especially in the context of the Titanic story and Belfast’s shipbuilding legacy. Its design also subtly incorporates a “cruciform” shape when viewed from the front, allowing for deeper interpretations of death and life.

Weighing three-quarters of a ton, it’s a life-sized and impactful piece.

The Artist: The sculpture was created by the renowned Irish sculptor Rowan Gillespie. Gillespie is known for his powerful and often haunting bronze figures in public spaces. He spent 12 months working on Titanica and expressed his honour at having his work displayed in front of Titanic Belfast, which he found incredibly inspiring.

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Great Victoria Street Presbyterian Church, also known as Sandy Row Presbyterian Church or South Kirk Presbyterian Church, is a significant ecclesiastical building located on Great Victoria Street in Belfast. It was built in a classical architectural style, reflecting the preference for classicism in Presbyterian churches of the time. The church was historically one of the largest Presbyterian congregations in Belfast.

Regarding changes since June 2014, information specifically detailing alterations to the Great Victoria Presbyterian Church building itself is not readily available in the search results. Many articles discuss the general decline of Presbyterian churches in Belfast, the demolition of other nearby churches (like the Great Victoria Street Baptist Church, which was demolished in late 2014), and the history of Presbyterianism in the city. However, there’s no indication that Great Victoria Presbyterian Church has undergone significant structural or external changes in the last decade. It continues to be a functioning church.

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