HEADLESS URBAN EXPRESSION

THE HIEROGLYPHS OF SUSSEX STREET – DUN LAOGHAIRE

July 22, 2025 by infomatique

3 JULY 2025

THE HIEROGLYPHS OF SUSSEX STREET [DUN LAOGHAIRE 3 JULY 2025]

The distinctive symbolic artwork seen on several walls is the work of Signs of Power, the professional name for the Dublin-based artist Vanessa Power. She was one of the official artists commissioned for the 2021 Dún Laoghaire Anseo festival. The description of her work as “hieroglyphic” is an insightful observation of its visual effect. Power is a lettering artist and sign painter who merges the traditional craft with a modern, pop-art aesthetic. The symbols are not derived from ancient scripts but are part of a unique, stylised alphabet she has developed.

This approach echoes how early 20th-century artists like Ernst Ludwig Kirchner used the term “hieroglyphs” to describe their method of translating lived experience into condensed, abstract, and symbolic visual forms. Power’s symbols, arranged in a grid and punctuated by red drips or arrows, create a powerful visual language that is meant to be experienced rather than literally read. Her work explores the power of signs and symbols in urban communication, a core theme in street art globally.

A GLIMPSE INTO THOMONDGATE’S PAST – A BLACK AND WHITE MURAL

July 22, 2025 by infomatique

LIMERICK JULY 2025

About two years ago, the talented team at Draw Out Urban Exhibitionists — a company dedicated to transforming urban spaces through public art — completed a truly stunning mural in Thomondgate, Limerick. This captivating artwork, notable for its striking black and white depiction, has quickly become a cherished landmark in the community.

The mural, gracing the side of the historic Temperance Hall building, draws its inspiration from an archival photograph of children diligently cleaning their community. This choice of imagery powerfully represents Thomondgate’s rich history and strong sense of community spirit.

The Enduring Legacy of Temperance Hall

The Temperance Hall in Thomondgate boasts a fascinating history, dating all the way back to 1844. Originally built as a hub for the 19th-century temperance movement, which advocated for abstinence from alcohol, it served as a vital gathering place for meetings and events promoting sobriety. Beyond its temperance roots, the hall also played a significant role in community life, hosting dances, concerts, and even political rallies.

Thomondgate itself is steeped in Limerick’s history, renowned for its cultural heritage and deep-seated community identity. The mural beautifully celebrates this heritage, serving as a powerful symbol of local pride.

The Artist’s Vision and Community Collaboration

The creative force behind this remarkable piece is Portuguese artist Mariana Santos. Santos is celebrated for her thought-provoking works that often highlight social issues and urban landscapes. Her art is deeply connected to the communities where she creates, and the Thomondgate mural is a prime example of this philosophy.

“We’re thrilled to have had the opportunity to create this mural in Thomondgate,” shared Catherine O’Halloran, founder of Draw Out Urban Exhibitionists. “We collaborated closely with the local community and the Thomondgate Residents Committee to bring this project to life, and we’re incredibly proud of the final result.”

Sean Mc ilfatrick of the Thomondgate Residents Committee echoed this sentiment: “The mural is a wonderful celebration of our community’s history and identity. We’re delighted to have this beautiful piece of public art in our neighbourhood, and we hope it will inspire others to learn more about our community and its rich cultural heritage, as well as participate in small acts of citizenship to enhance their local area and generate a sense of pride of place.” He also extended “Special thanks” to “Cannon Donal McNamara and his committee.”

A Community’s Pride

Made possible through the generous support of local businesses and the community, the mural has already become a significant point of pride. Residents and visitors alike frequently pause to admire and photograph this stunning addition to the neighbourhood.

HONAN’S QUAY A CANVAS OF CONTRADICTIONS – CLOSE UP AND FAR AWAY

July 22, 2025 by infomatique

LIMERICK JULY 2025

The former Dunnes Stores site at Honan’s Quay in Limerick City has become a focal point of discussion, not just for its ambitious artistic transformation, but also for the controversies surrounding its acquisition by the University of Limerick (UL). This site, now adorned with a striking mural and ground artwork, represents a complex interplay of urban revitalisation, artistic expression, and financial scrutiny.

The Art: Weaving Nature and Urbanity
The artistic endeavour at Honan’s Quay is a collaborative masterpiece, spearheaded by local artist collective Draw Out in partnership with Limerick City and County Council and the University of Limerick. The project initially saw internationally renowned urban artist Digo Diego adorn the walls of the UL City Centre Campus building with a captivating mural. This artwork, characterised by vivid colours and interlocking organic shapes, symbolically articulates the interactions between the city, the River Shannon, and nature, embodying an ethos of sustainable growth.

What makes this project truly innovative is its evolution into Limerick’s first ground mural. Elements from Digo Diego’s original wall painting have been distilled and extended onto the adjacent horizontal spaces, creating a seamless and immersive experience. Catherine O’Halloran of Draw Out emphasised the collaborative process with Digo Diego to ensure harmony between the two artworks, stating, “We wanted to distil the existing design pattern… and extract the DNA to ensure all the design elements translated effectively to the flat.”

The ground mural, with its “glowing extension of vibrancy and luminosity,” has transformed Honan’s Quay into a “dreamland of colour and imagination.” It’s envisioned as a dynamic public sphere for cultural and recreational purposes, inviting interaction and contemplation. The space now features a Mobile Urban Forest, seating areas, and even table tennis tables, actively encouraging people to “play, pause and be mesmerised by the impact of art on an urban landscape.”

Digo Diego, known for his work’s emphasis on environment and social issues, views his murals as a canvas to “enhance, revitalise and educate.” He expressed excitement about the project’s evolution, noting, “It is very interesting to me to create a piece that has evolved into something bigger.” The artwork’s success lies in its ability to inject warmth, joy, and playful energy into the urban fabric, demonstrating how public art can reshape our experience of a place.

The Artist: Digo Diego and Draw Out

Digo Diego is an urban artist and muralist whose work is deeply influenced by environmental and social concerns. His artistic philosophy centres on using large-scale murals as a medium for enhancement, revitalisation, and education. His distinctive style, evident in the Honan’s Quay project, often incorporates organic forms and vibrant palettes to create visually striking and conceptually rich pieces. His involvement brought an international perspective and a high level of artistic integrity to the project.

Draw Out is a local artist collective based in Limerick, playing a crucial role in bringing ambitious public art projects to fruition. Their expertise lies in translating artistic visions into tangible urban interventions. For the Honan’s Quay project, they were instrumental in the collaboration with Digo Diego, ensuring the seamless transition of the wall mural’s design elements into the groundbreaking ground mural. Draw Out, along with Limerick City Build, is also committed to cultivating a professional team of local practitioners, aiming to roll out similar projects to address derelict or underdeveloped spaces across the city. This highlights their dedication to community engagement and urban renewal through art.

The Concept: Art as Urban Regeneration

The underlying concept behind the Honan’s Quay mural project is the transformative power of public art as a tool for urban regeneration and civic engagement. The goal was to convert a previously underutilised or “derelict” space into a vibrant and inviting public realm. By introducing dynamic and visually arresting artwork, the project aims to attract people, foster a sense of community, and provide new opportunities for cultural and recreational activities along the riverfront.

This initiative is a testament to the belief that art can not only beautify an urban landscape but also imbue it with new meaning and purpose. The “tapestry of vivid colour, overlapping and interlocking shapes” creates a “new public sphere” that encourages interaction and changes the perception of the site. The project also champions sustainable growth as a hallmark for future campus development, aligning with Digo Diego’s environmental leanings. It’s a bold statement about Limerick’s commitment to utilising creative solutions for urban revitalisation and enriching the lives of its citizens.

The Site’s Shadow: Overpayment and Uncertainty

While the artistic transformation of Honan’s Quay has been widely celebrated, the site’s acquisition by the University of Limerick in 2019 for €8 million has been a subject of significant controversy. The Comptroller and Auditor General sharply criticised the purchase, stating, “It is difficult to see how the purchase represented value for money.” A retrospective valuation in 2023 further reinforced these concerns, concluding that UL had paid approximately one third more than the market value of the property four years prior. This financial discrepancy led to the university incurring a €3 million impairment charge on the acquisition in its 2022-2023 annual financial statements.

Despite the substantial investment, UL has made only limited use of the building, with only 20% of the space brought back into operation. The university is now exploring the feasibility of relocating its School of Medicine to the redeveloped city campus at Honan’s Quay, as per a proposal brought to its governing authority by acting president Professor Shane Kilcommins. He acknowledged the site as “one of the most strategically located sites in the city and it is incumbent on the university to seriously consider its intentions for the site.” However, this proposal indicates that a full and final decision on the site’s long-term use and development is yet to be definitively decided, adding to the uncertainty surrounding the initial investment.

Dunnes Stores’ Departure and the Site’s Dereliction

The Dunnes Stores at Honan’s Quay, which had been a prominent city-centre retail outlet, ceased trading there in August 2008. This departure left the significant building vacant and largely idle for over a decade, becoming what local officials and citizens often described as a major “eyesore” at a crucial gateway to Limerick City’s waterfront.

The exact reasons for Dunnes Stores’ decision to abandon this specific city centre location are not explicitly detailed in publicly available records. However, it’s a common trend for large retailers to consolidate operations or relocate to out-of-town retail parks that offer larger footprints, ample parking, and easier access for shoppers who prefer driving.

The site did indeed become derelict or unoccupied for an extended period of time, contributing to concerns about urban decay in Limerick city centre. This protracted vacancy prompted discussions and even calls for Limerick City and County Council to impose vacant site levies on Dunnes Stores to encourage development or sale. The argument was that a successful, profitable company was neglecting a substantial, strategically located site, hindering the city’s broader regeneration plans like “Limerick 2030.”

The University of Limerick’s acquisition in 2019, despite the later controversies regarding the purchase price, was seen by many as a positive step towards addressing the dereliction and bringing life back to this key city center property. The subsequent artistic interventions, preceding a full development plan, further aimed to visually transform the “eyesore” into a vibrant public space.

EXAMPLES OF STREET ART IN DUNDALK

May 17, 2025 by infomatique

I HAD TO ABANDON THIS SESSION BUT WILL RETURN AT A LATER DATE

My primary reason for visiting the town of Dundalk was to explore its street art scene, but I was rather sidetracked. The town proved to be far more interesting than I’d anticipated, and as a result, I didn’t have sufficient time to complete my mission. However, this isn’t really a bother as I expect to return after my visit to Belfast at the end of the month.

Dundalk’s Mural Landscape: The EPSO Initiative

Dundalk boasts a vibrant mural scene, largely driven by the EPSO (Emerging Public Sculpture Opportunity) initiative, now known as SEEK. The EPSO website (https://www.epso.ie/murals) showcases a diverse collection of murals throughout the town, illustrating Dundalk’s history, culture, and local sayings. The SEEK festival (https://www.seekdundalk.ie/) has further elevated the visual arts in Dundalk.

These murals, created by both local and international artists, demonstrate a clear investment in public art as a means of enriching the urban environment. The themes range from historical figures such as Cú Chulainn and Edward the Bruce to more contemporary and playful pieces. The EPSO/SEEK project also organises guided walking tours of the murals, indicating a desire to make these artworks accessible and engaging for both residents and tourists.

Dundalk versus Waterford and Other Successful Programmes

Waterford Walls (https://wallsproject.ie/) serves as a prominent example of a highly successful street art programme. This annual international street art festival has transformed Waterford into an outdoor gallery, attracting artists from around the globe and generating significant tourism. The scale and impact of Waterford Walls are undeniable, and it has become a model for other towns seeking to revitalise their public spaces through art.

Dundalk’s EPSO/SEEK programme shares some similarities with Waterford Walls, particularly in its focus on bringing high-quality art to public spaces and its use of murals to tell local stories and celebrate cultural heritage. However, the scale and international reach of Waterford Walls are currently larger.

Other Irish towns, like Dún Laoghaire and Drogheda, have also embraced mural projects, often with community involvement, to enhance public spaces and create points of interest. These initiatives, while varying in scope, demonstrate a broader trend in Ireland of recognising the value of street art in urban regeneration and cultural development.

The Commercialisation versus Control Debate

Some individuals I know well have raised a critical point about the potential for the “commercialisation” of street art to act as a subtle form of control over informal graffiti. This is a complex issue with valid arguments on both sides.

Arguments for Commercialisation as Control:

Curated Aesthetics: When street art is commissioned and funded by local authorities or businesses, there’s an inherent level of curation. This can lead to a preference for aesthetically pleasing and “safe” themes, potentially marginalising more challenging or subversive forms of street art that might be considered graffiti.
Territoriality and Respect: There’s often an unspoken code within the street art community where established, high-quality murals are respected. However, this can also create a hierarchy where “official” street art is valued over “unofficial” graffiti, potentially leading to the removal or suppression of the latter.
Gentrification Concerns: In some cases, street art initiatives have been linked to gentrification efforts, where the beautification of an area is intended to attract wealthier residents and businesses, potentially displacing existing communities and their forms of expression, including graffiti.
Commodification and Loss of Authenticity: The commercialisation of street art, through merchandise, prints, and even street art tours, can be seen as stripping the art form of its original context and rebellious spirit. This can lead to concerns about authenticity and the co-option of a form of expression that often originated as a critique of consumerism and established norms.
Counterarguments and Nuances:

Economic Sustainability: Commissioned street art provides a means for artists to earn a living from their work. This economic sustainability can allow artists to continue creating and contributing to the cultural landscape.
Reduced Vandalism: As discussed, high-quality murals can deter tagging and vandalism, leading to cleaner and more visually appealing public spaces.
Community Engagement: Street art projects can be a powerful tool for community engagement, fostering a sense of ownership and pride in the local environment.
Broader Acceptance of Street Art: The increased visibility and acceptance of street art through commercial initiatives can lead to a greater appreciation for the art form as a whole, potentially creating a more tolerant environment for diverse forms of expression.
Dundalk and the EPSO/SEEK Context:

In Dundalk’s case, the EPSO/SEEK programme has undoubtedly contributed to a more vibrant and visually interesting town. The murals are generally well-received and have become a point of pride for the community. However, it’s worth considering whether this curated approach has, intentionally or unintentionally, influenced the landscape of informal graffiti in Dundalk. Are there areas where less formal street art or graffiti is present, and how is it perceived and managed? This would require a more in-depth local investigation.

Conclusion:

The relationship between commercialised street art programmes and informal graffiti is complex and multifaceted. While initiatives like Waterford Walls and Dundalk’s EPSO/SEEK have demonstrably enhanced urban spaces and promoted artistic expression, it’s crucial to remain aware of the potential for subtle control and the need to foster a diverse and inclusive environment for all forms of public art, including those that challenge established norms. A balanced approach that supports both commissioned murals and allows for organic, less formal forms of street art is likely the most enriching and representative of a vibrant urban culture.

THE MURALS AND MOSAICS AT BRAY DALY TRAIN STATION

May 8, 2025 by infomatique

PHOTOGRAPHED 7 MAY 2025

The Murals and Mosaics of Bray Daly Station: A Historical Overview

Bray Daly Railway Station, situated in County Wicklow, Ireland, serves as a vital transportation link for the town, conveniently located near the seafront and a short distance from the main street. Beyond its functional role, the station is distinguished by a notable series of artworks located on platform 2. These began as painted murals and were later transformed into mosaics, becoming a distinctive element for commuters and visitors alike. This blog post aims to explore the history of this public art installation, tracing its origins, identifying the artists involved, examining the reasons behind its transformation, and considering the continuity of the artwork across its different forms.

The story of the public art at Bray Daly Station commenced in 1987 with a competition initiated by the Bray Community Arts Group. This local organisation, dedicated to promoting artistic activity and advocating for enhanced cultural facilities, sponsored the contest to design murals that would enhance the station platforms.

The winning proposal, selected by popular vote, came from Jay Roche and John Carter, who were students at the time at Dún Laoghaire College of Art. Their creation comprised nineteen individual panels, each depicting a moment in the history of the station and its surrounding area, spanning from the station’s opening in 1854 up to the 1980s.

The historical narrative woven through these paintings connected the artwork directly to the heritage of the railway line and the local community, offering an engaging visual experience for those using the station. The scenes portrayed a diverse range of subjects, including significant historical events, various modes of transport that have served the station over the decades, and depictions of notable Irish figures such as Oscar Wilde and James Joyce. The involvement of a community arts group in commissioning the murals underscores the value placed on public art by the local residents, reflecting a desire to enrich the everyday environment of the station. Furthermore, the selection of art students for such a substantial project suggests a community ethos of supporting emerging artistic talent and integrating art into public spaces. The historical focus of the murals served not merely as decoration but also as a visual chronicle of the station’s and the region’s past, fostering a sense of connection to local history. The inclusion of well-known personalities added another layer of interest and cultural resonance to the artwork, potentially broadening its appeal to a wider audience.

Over time, the original painted murals began to suffer from the effects of wear and environmental exposure. The station’s coastal location in Bray meant the artwork was particularly vulnerable to the corrosive effects of the briny sea air. Additionally, issues such as lime seeping through the plaster walls of the platform contributed to the degradation of the paintings.

By approximately 2010, the murals had deteriorated significantly, necessitating a solution to preserve the artistic and historical value of the installation. To address this, a decision was made to replace the fading murals with mosaics, a medium known for its durability and lower maintenance requirements in public spaces. This choice reflected a practical approach to ensuring the longevity of the artwork in an environment subject to environmental stressors and high levels of public use. The timeframe between the initial commissioning in 1987 and the significant deterioration observed around 2010 indicates the typical lifespan of painted murals in such conditions, highlighting the challenges inherent in maintaining public art in exposed locations. The selection of mosaics as the replacement medium demonstrated a commitment to long-term preservation, learning from the experiences with the original paintings.

The task of transforming the murals into mosaics was undertaken by the original artists, Jay Roche and John Carter, who had since established a company named Triskill Design. Their continued involvement in the project ensured a degree of artistic continuity and a deep understanding of the original vision behind the artwork. Their professional development into Triskill Design suggests an ongoing dedication to the creation and preservation of public art. Assisting them in this significant undertaking were Anthony Kelly and Eileen Maguire.

This collaborative effort highlights the scale of the project and the need for diverse expertise in the intricate medium of mosaic art. The mosaic replacement programme commenced in 2008 , marking the beginning of a long-term commitment to the preservation of the public art at the station.

The conversion of each of the nineteen mural panels into a mosaic was a considerable undertaking, involving significant time, skill, and financial resources. The associated costs of this transformation likely necessitated careful planning and potentially external funding or sponsorship to support the project’s completion. The decision to entrust the original artists with the replacement project underscored the value of their initial work and their continued expertise, ensuring the artistic integrity of the installation. The collaborative nature of the mosaic project further highlights the complexity and scale involved in converting nineteen large-scale murals into a more durable medium.

While the tiled mosaics are based on the themes and imagery of the original painted murals, they are not exact replicas. The artists adapted the designs to effectively utilise the characteristics of the mosaic medium, acknowledging the distinct aesthetic and technical possibilities offered by tiles compared to paint. This suggests a creative approach to the conversion, where the artists considered how the use of small tiles could enhance or reinterpret the original imagery. The artists themselves have noted that they respected the variations that the change of medium necessitated , indicating that the mosaics represent a reinterpretation rather than a direct transfer of the original designs. During the period of transition, some of the original paintings remained visible alongside the newly installed mosaics. This coexistence provided a unique opportunity for observers to compare the two forms of artwork and to witness the transformation process firsthand. This transitional phase offered a valuable insight into the evolution of the artwork and the different visual impacts of the two mediums.

In conclusion, the public art at Bray Daly Station stands as a testament to community initiative, artistic dedication, and the evolving nature of public art. Beginning with the painted murals commissioned in 1987 from emerging artists Jay Roche and John Carter, the artwork documented the rich history of the station and its surroundings. The subsequent deterioration of the murals due to environmental factors led to a significant preservation effort, with the original artists, now leading Triskill Design and assisted by Anthony Kelly and Eileen Maguire, undertaking the ambitious project of replacing the paintings with durable mosaic versions, a programme that commenced in 2008.

While the mosaics are inspired by the original designs, they represent an artistic adaptation to a new medium, ensuring the longevity of this significant community asset for the enjoyment of future generations of commuters and visitors. The artwork continues to serve as a visual narrative of Irish and railway history, contributing significantly to the cultural identity of Bray Daly Station.

BRAY DALY STATION IN NOW A MINI TRANSPORT HUB

May 8, 2025 by infomatique

PHOTOGRAPHED 7 MAY 2025

As already mentioned I am testing various body-lens combinations and today I selected the Sony FX30 and the Sony 70-200 F4 GII lens and it was not a huge success. The sunlight was too strong for me to see the display and the camera lacks an EVF so all I could was point and pray and most of what I got was unusable.

Bray Daly Station, originally opened in 1854, has grown significantly from a single-platform terminus. Initially serving the Dublin, Wicklow and Wexford Railway, its importance increased with the extension of the line southwards. The station was rebuilt and expanded over the years, notably in 1927 with the addition of a new platform and signal box.

A key development was the introduction of the Dublin Area Rapid Transit (DART) in 1984, for which Bray served as the southern terminus until 2000. This electrification transformed the station into a vital commuter hub for those travelling to and from Dublin.

In recent times, Bray Daly has evolved into a multi-modal transport interchange. It now accommodates numerous bus routes operated by Bus Éireann, Dublin Bus, and Go-Ahead Ireland, providing connections to surrounding areas. Ongoing projects aim to further enhance the interchange facilities, creating a more seamless and accessible experience for passengers transferring between rail and bus services, as well as improving pedestrian and cycle access.