FLYING FIGURES SCULPTURE BY ELISABETH FRINK HAVE BEEN REPLACED BY THE SALMON OF KNOWLEDGE [BELFAST MAY 2025]

The Evolving Canvas of Shaftesbury Square: From ‘Flying Figures’ to ‘Salmon of Knowledge’

1. Introduction: A Landmark Transformed

The urban landscape of Belfast, particularly around Shaftesbury Square, is a dynamic canvas reflecting the city’s rich history and ongoing cultural evolution. For decades, the former Ulster Bank building at 136-142 Great Victoria Street stood as a recognisable landmark, not least due to the distinctive sculptures adorning its façade. The observation of these sculptures being replaced by a vibrant mural signals a significant shift in the public art narrative of this key city junction. This report meticulously researches and documents this transformation, providing a comprehensive account of the original artwork’s fate, the details of its replacement, and the current status of the building itself.

2. The Departure of Elisabeth Frink’s ‘Flying Figures’

This section details the history, significance, and eventual removal of the iconic sculptures that graced the Ulster Bank building for nearly six decades.

2.1 The Original Commission and Its Enduring Legacy

The iconic aluminium sculptures, originally titled ‘Airborne Men’ and later officially known as ‘Flying Figures’, were commissioned in 1961 from the renowned British artist Elisabeth Frink (1930–1993). This significant public art commission was initiated by Lurgan-based architects Houston & Beaumont, alongside the Arts Council of Northern Ireland, acting on behalf of Ulster Bank. Their intention was for the sculptures to serve as a prominent focal point for the then-new banking facility in Shaftesbury Square. The artwork was unveiled to the public upon the building’s opening in 1964.  

Elisabeth Frink’s artistic practice was deeply influenced by her childhood experiences during the Second World War and her lifelong passion for nature, particularly horses and birds. She achieved early success, selling work to the Tate Gallery at just 21 years old while still a student. Her association with the “Geometry of Fear” group of British sculptors, whose work often reflected the anxiety prevalent in post-war society, provided a critical lens through which her art was understood. Frink’s winged figures, created in the early 1960s, notably combined elements of birds of prey with shapes reminiscent of aircraft wings, merging her core influences of the horrors of war and the natural world.  

Despite an initial mixed public reception, with some observers finding the sculptures “unfinished” or even deeming them to “make a fine building a laughing stock”, the ‘Flying Figures’ quickly transcended this early criticism. Over their nearly sixty years in place, they became a “beloved part of Belfast life” and were widely recognised as an “iconic city sculpture”. A testament to their deep integration into the local culture was the emergence of affectionate nicknames such as ‘Draft and Overdraft’ and ‘Credit and Debit’. These playful monikers, directly referencing the sculptures’ location on a bank building, highlight the public’s active engagement and appropriation of public art. This phenomenon demonstrates that the enduring value of public art is often determined not solely by initial artistic intent or critical reception, but significantly by its ability to resonate with and be adopted by the local community, becoming a unique part of its identity and collective memory.  

2.2 Removal and New Custodianship

The ‘Flying Figures’ sculptures were carefully removed from the building on Wednesday, 28th June 2023. This decision was primarily driven by the need for their preservation, ensuring the long-term future of these “internationally important artworks”. The removal coincided with Ulster Bank’s formal ending of its connection with the building, a process finalised by August 2023. It is important to note that Ulster Bank had sold the building in 2009 but had subsequently taken a lease of the structure and, crucially, retained ownership of the sculptures to help protect and preserve them. With the lease concluding, a new arrangement for the artworks was necessary.  

In a significant move, Ulster Bank generously gifted the sculptures to National Museums NI, specifically for display at the Ulster Museum. This transfer was undertaken with the explicit aim of ensuring that the public could continue to have access to these culturally significant works. National Museums NI was deemed an “appropriate custodian” given its status as a world-class museum organisation and its existing collection of Elisabeth Frink’s works, which it had acquired in 2019. Plans are currently in development to display the sculptures in a prominent position at the Ulster Museum following a thorough conservation assessment and preparation.  

The decision to remove the ‘Flying Figures’ from their original public setting and transfer them to a museum marks a notable shift in the approach to preserving public art. Rather than maintaining them in situ as an integral part of the streetscape, the emphasis moved towards controlled, institutional preservation. This change, driven by the bank’s disengagement from the building and the imperative to secure the artworks’ future, prioritises academic and conservation value over continuous public accessibility in the original urban context. While museum care undoubtedly ensures the long-term survival and scholarly appreciation of the pieces, it fundamentally alters the context of public access. The art transitions from a freely encountered, daily urban landmark to a curated museum exhibit, transforming the spontaneous, unmediated interaction the public had with them as part of the streetscape. This highlights a dynamic tension inherent in the stewardship of public art: balancing the imperative of physical preservation with the desire to maintain the artwork’s original public function and immediate accessibility.

3. The Arrival of Veks van Hillik’s ‘Salmon of Knowledge’ Mural

This section introduces the new artwork that now graces the former Ulster Bank building, detailing its characteristics, the artist, and the context of its commission.

3.1 A New Vision for the Facade

The former Ulster Bank building’s southern gable wall is now adorned with a striking mural by French street artist Veks van Hillik. This impressive artwork measures approximately 80m², establishing it as one of the largest murals in Belfast and ensuring a significant visual impact within the urban landscape.  

The mural draws its thematic inspiration from the legendary Irish tale of the Salmon of Knowledge. It depicts a nine-eyed fish, serving as a powerful symbol of wisdom and insight. This new theme stands in stark contrast to the financial connotations of the previous sculptures’ affectionate nicknames, ‘Draft and Overdraft’, signifying a notable shift in the building’s public narrative. Veks van Hillik’s artistic style is distinctive, drawing from the techniques of Flemish painters of past centuries, such as Jan van Eyck. His aim is to transport viewers into an “enchanting surreality”, and the mural notably incorporates landscapes from his native Provence-Alpes-Côte d’Azur region of France, blending local Irish myth with an international artistic perspective.  

To summarise the key details of the public art at Shaftesbury Square:

Elisabeth Frink’s ‘Flying Figures’, installed in 1964, were two aluminium ‘Airborne Men’ commissioned by Houston & Beaumont, the Arts Council of Northern Ireland, and Ulster Bank. They were located on the southern gable wall of the former Ulster Bank building and were affectionately known as ‘Draft and Overdraft’. These sculptures have since been gifted to National Museums NI and plans are in development for their display at the Ulster Museum.  

In contrast, Veks van Hillik’s ‘Salmon of Knowledge’ Mural was installed in 2024 as part of the Hit the North 2024 festival. This mural, also located on the southern gable wall of the former Ulster Bank building, depicts a nine-eyed fish, symbolising wisdom and insight. It measures approximately 80m² and was commissioned by the Linen Quarter BID and the Hit the North 2024 festival. The mural is currently installed and visible on the building façade.  

The replacement of the ‘Draft and Overdraft’ sculptures, which symbolised finance, with a mural depicting the ‘Salmon of Knowledge’, representing wisdom and insight, is a profound symbolic re-narration of the building’s public identity. The previous artwork was intrinsically linked to the building’s function as a bank, reflecting its commercial purpose. The new mural, with its theme rooted in Irish folklore and the pursuit of knowledge, suggests a deliberate shift in the message conveyed by this prominent public space. This change, commissioned by the Linen Quarter BID, aligns with broader urban regeneration efforts to cultivate a diverse and culturally rich district, moving beyond purely commercial associations. This transformation signifies a conscious effort to redefine the public perception of Shaftesbury Square and the Linen Quarter, fostering an environment that speaks to intellectual and cultural enrichment rather than solely transactional activity.

3.2 The Artist and Commissioning Context

Veks van Hillik, the artist behind the new mural, was born in 1988 in Southwest France and currently lives and works in Toulouse. He has cultivated a lifelong passion for drawing, with nature, particularly fauna and flora, serving as his primary source of inspiration. Recognised as a renowned artist within the Lowbrow movement, his distinctive style is shaped by a diverse range of influences. These include classical masters such as Gustave Doré, Ingres, Caravaggio, and Dali, as well as the more contemporary realms of pop culture, video games, comics, and tattoos. His work is often characterised by a surreal touch, blending “candor and blackness”. Veks van Hillik has exhibited his art widely, both in France and internationally, with shows in Italy, Brooklyn (United States), and Melbourne (Australia).  

The ‘Salmon of Knowledge’ mural was commissioned by the Linen Quarter BID (Business Improvement District). It was installed as a key component of the Hit the North 2024 festival, an annual street art festival that plays a crucial role in nurturing and developing Northern Ireland’s vibrant street art industry. Celebrating its 12th anniversary in 2024, the Hit the North festival has attracted over 200 artists from across the UK, Ireland, and internationally, contributing significantly to broader rejuvenation efforts within Belfast City Centre.  

The commissioning of a large-scale mural by the Linen Quarter BID as part of the Hit the North festival highlights a significant trend in contemporary urban development. Business Improvement Districts, traditionally focused on commercial improvements and safety, are increasingly leveraging public art as a strategic tool for urban regeneration. This approach reflects a growing recognition that vibrant public art enhances the attractiveness, cultural identity, and economic vitality of a district, drawing in both residents and visitors. The integration with a well-established event like the Hit the North festival, which fosters local artistic development and brings international talent, demonstrates a collaborative and dynamic approach to placemaking. This indicates a strategic shift from traditional, often static, public monuments to more dynamic, contemporary, and sometimes ephemeral forms of public art like murals. This allows urban spaces to function as continuously evolving canvases that engage with current artistic trends and community narratives, contributing to a more lively and culturally rich city centre.  

4. The Building’s Shifting Identity and Ownership

This section traces the evolution of the building itself, from its original banking function to its current and proposed future uses, while addressing the complex question of its current ownership.

4.1 From Banking Headquarters to Community Hub

The building at Shaftesbury Square, also identified by its address at 136-142 Great Victoria Street, was purpose-built as the Shaftesbury Square branch of Ulster Bank, officially opening its doors in 1964. The bank occupied the ground floor, with office spaces situated on the floors above. This site has a history of transformation even before the bank, having previously housed the Shaftesbury Arcade from approximately 1930 to 1963, and prior to that, the Magdalene School House.  

The Ulster Bank branch ceased its operations and closed on 14th June 2013. Following the bank’s closure, the building underwent initial changes to accommodate new uses. In October 2015, Ulster Bank Ltd submitted a planning application (LA04/2015/1274/F) proposing the conversion of the ground floor from a bank to office space (Class B1(a) Business use), which received approval in March 2016.  

More recently, in January 2025, Street Soccer NI submitted a significant planning application (LA04/2025/0035/F) proposing a substantial repurposing of the building. Their plans include converting the ground floor office space into a retail area, specifically a charity shop, and a community drop-in centre. Furthermore, they propose transforming the first and second floors from office space into dedicated community use areas, incorporating classrooms, game areas, and social spaces. This proposed trajectory, from a dedicated financial institution to offices and now with plans for a charity shop and community centre, illustrates a significant urban trend: the repurposing of former commercial or financial spaces for community-oriented uses. This transformation reflects both changing economic landscapes, such as the decline of traditional high-street banking, and a growing demand for accessible community resources within city centres. The shift from a private financial institution to a public-facing community hub represents a democratisation of urban space, contributing to making city centres more inclusive and resilient by adapting to new social needs.  

4.2 Current Ownership Status

Ulster Bank sold the building in 2009. However, following this sale, the bank took back a lease of the entire structure and, crucially, retained ownership of the ‘Flying Figures’ sculptures to help protect and preserve them. This arrangement continued until August 2023, at which point Ulster Bank formally ended its connection with the building.  

While Ulster Bank’s divestment from the building in 2009 is clearly documented, the precise identity of the current owner of the building is not explicitly stated in the provided research material. The planning application submitted by Street Soccer NI in January 2025, detailing their extensive plans for community and retail use, suggests they are either the new owners or significant long-term tenants with substantial plans for the property. However, the submission of a planning application does not definitively confirm ownership. This gap in readily available information, despite details about subsequent planning applications, highlights a common challenge in public research: while major transactional events are noted, the specific entity that acquired a commercial property may not always be immediately apparent in general public-facing information or news articles. To definitively ascertain the current registered owner, one would typically need to consult the Land Registry for Northern Ireland, which maintains records of land, houses, and properties, or the Public Record Office of Northern Ireland (PRONI) for older records. This suggests that while the functional and artistic transformations of a building are often public knowledge, the precise details of its ownership can remain private or require specific official inquiries.  

5. Conclusion: A Dynamic Urban Canvas

The former Ulster Bank building in Shaftesbury Square stands as a compelling case study of Belfast’s evolving urban fabric and its relationship with public art. The departure of Elisabeth Frink’s ‘Flying Figures’ marks the end of an era for a beloved landmark, transitioning from corporate patronage to national museum custodianship. This move, driven by the imperative of preservation and Ulster Bank’s disengagement, ensures the artworks’ longevity and continued public access, albeit in a new, institutional context. This reflects a mature understanding of public art’s cultural significance beyond its original commercial setting.

In its place, Veks van Hillik’s ‘Salmon of Knowledge’ mural heralds a new chapter, showcasing the dynamic and often ephemeral nature of contemporary street art. Commissioned by the Linen Quarter BID as part of the vibrant Hit the North festival, this mural embodies a shift towards art as a strategic tool for urban regeneration and community engagement, blending local folklore with international artistic influences. This transformation underscores a conscious effort to redefine the area’s identity, moving from a purely commercial hub to a place of cultural richness and intellectual aspiration.

Concurrently, the building itself is undergoing a significant transformation, moving from a banking facility to proposed community and retail spaces. This repurposing is indicative of broader trends in urban development, where former commercial properties are adapted to serve evolving social needs, contributing to more inclusive and resilient city centres. While the definitive current owner is not explicitly named in the available public information, the involvement of organisations like Street Soccer NI signals a future focused on social and community benefit.

Together, these changes illustrate Belfast’s continuous reinvention, where public spaces serve as dynamic canvases for artistic expression and reflect the city’s adaptability to changing economic and social landscapes. The site at Shaftesbury Square remains a vibrant testament to Belfast’s rich cultural heritage and its forward-looking urban development.

The post FLYING FIGURES SCULPTURE BY ELISABETH FRINK HAVE BEEN REPLACED BY THE SALMON OF KNOWLEDGE appeared first on THE URBAN CARTOGRAPHER DOCUMENTS BELFAST.

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.

The post I REVISITED THE GALLERY OF STARS IN MAY 2025 – THERE HAVE BEEN SOME RECENT CHANGES appeared first on THE URBAN CARTOGRAPHER DOCUMENTS BELFAST.