URBAN EXPRESSION BY THE URBAN CARTOGRAPHER

There Is Much To See Here

Dublin City Council

HERBERT HABITAT AN EXAMPLE OF STREET ART AT THE HIVE IN HERBERT PARK

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PHOTOGRAPHED USING A SONY A7RIV

I was unable to properly photograph this artwork as there were children playing at being “pirates” in the immediate area.

“Herbert Habitat,” a vibrant piece of street art, graces the walls of The Hive in Herbert Park, Dublin 4. Commissioned by Dublin City Council Parks and Biodiversity, the artwork was created by artists selected through the Dublin Canvas initiative.

The Hive in Herbert Park is a community centre that offers a variety of spaces for rent. These spaces can be used for meetings, yoga, pilates, dance, drama, and other activities. It is a valuable resource for local groups and organisations looking for a place to meet or hold events.  

THE RISE AND FALL OF THE ICON FACTORY

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DUBLIN STREET ART

The Icon Factory, a vibrant hub of creativity nestled in the heart of Dublin’s Temple Bar, left an indelible mark on the city’s cultural landscape. More than just a gallery, it was an artist’s cooperative, a non-profit collective run entirely by artists and volunteers passionate about celebrating Ireland’s rich cultural heritage. The Factory aimed to reach a broader audience through its online presence, popularising Irish culture and offering a unique experience. This article delves into the history of the Icon Factory, explores its relationship with Atelier, and examines the factors that led to its closure.  

A Collaborative Vision

The Icon Factory was the brainchild of Barney Phair and Aga Szot. Phair, inspired by similar Bohemian art projects he had witnessed in New York, envisioned a space where artists could come together and contribute to the city’s cultural identity. Szot, a visual artist with an MA and MS from Krakow Pedagogical University, brought her artistic expertise and leadership to the project. Together, they transformed an abandoned post office into a thriving gallery and studio space.  

The Icon Factory was more than just a place to display art; it was a multifaceted platform that used commercial products like fine art prints, t-shirts, and posters to convey messages, share knowledge, and spark curiosity about Irish culture. It also sold colourful, unique souvenirs celebrating the very best in Irish music and literature, with every sale going towards supporting the artists themselves. Szot, a full-time artist herself, saw the Factory as a way to popularise Irish culture and offer a unique experience that was missing from the market.  

The Icon Factory played a crucial role in promoting a sense of community and encouraging interaction with art. It provided a space for artists to connect, collaborate, and share their work with the public. The Factory’s events and exhibitions further fostered this sense of community, bringing people together to celebrate Irish culture and artistic expression.  

The Icon Walk: A Celebration of Irish Identity


Central to the Icon Factory’s mission was the creation of the Icon Walk, an open-air art installation that transformed the neglected laneways of Temple Bar into a vibrant celebration of Irish icons. These laneways, once considered unsafe and avoided by many, were given new life through the Icon Walk. The Walk featured original images of individuals who had made significant contributions to Irish culture, from rock stars and sporting heroes to writers and television personalities. It became Ireland’s largest open-air art installation, attracting tourists, locals, and student groups to the area.  

The Icon Walk was initially trialled as an exhibition along the Liffey boardwalk before Phair and Szot secured a permanent space in Temple Bar. Their aim was to revitalise the area and encourage visitors to engage with the soul of Ireland. The result was a captivating blend of pop art, subversive messaging, and modern iconography that drew tourists, locals, and student groups to the area. The Icon Walk has also been endorsed by Dublin’s UNESCO City of Literature Department as an important site for the celebration of Irish literary talent and culture. The Icon Factory’s efforts not only transformed the physical appearance of the laneways but also helped reduce the crime rate in the area.  

The Icon Walk was also closely associated with the work of Aga Szot, whose studio, possibly referred to as ‘Atelier’, played a key role in the Factory’s activities.

The Atelier Connection

While the research material does not explicitly define “Atelier” in the context of the Icon Factory, it does reveal a close relationship between the Factory and Aga Szot’s own studio. It seems likely that “Atelier” refers to Szot’s studio, which functioned as a creative space within the larger Icon Factory collective. Located right next to the Icon Factory, Szot’s studio allowed her to work on her art while also overseeing the Factory’s operations.  

The close proximity of Szot’s studio to the Icon Factory fostered a dynamic environment where artistic creation and cultural celebration intertwined. Passersby could observe Szot at work through the large shop window, witnessing the creative process firsthand. This live painting installation further enhanced the Icon Factory’s appeal as a hub of artistic energy and cultural engagement.

Community Engagement and Events

The Icon Factory was deeply involved in community engagement, hosting a variety of events that brought people together and enriched the cultural fabric of Temple Bar. These events included:  

Annual Christmas markets with local artisans and crafts.
Music and art festivals showcasing local and international talent.
Community projects like repainting the Icon Walk, engaging locals in creative endeavours.
Student internships offering hands-on experience in the arts and culture sector.
These activities solidified the Icon Factory’s position as a cornerstone of cultural engagement in Dublin.

Love the Lanes Initiative

Around the same time that the Icon Factory was operational, Dublin City Council organised a programme called “Love the Lanes”. This initiative, a joint effort with the Temple Bar Company, aimed to bring new life to the back lanes of Temple Bar by reactivating them for public use and enjoyment.  

“Love the Lanes” focused on four laneways in Temple Bar: Crampton Court, Adair and Bedford lanes, and Copper Alley. The programme launched a public call for ideas, receiving over 60 submissions for artworks, installations, and events. Successful projects had the potential to become permanent and be repeated in other laneways citywide.  

One notable project was the transformation of Crampton Court into “Love Lane” by artist Anna Doran. Doran adorned the lane with love letters to Dublin, words from famous writers, and witty ceramic tiles. In 2018, “Love Lane” was revamped with new ceramic tiles featuring quotes about love and heartbreak submitted by the public via social media. The lane has become a popular spot for Instagram users, showcasing the power of art to revitalise urban spaces.  

Challenges and Closure

Despite its success in revitalising the laneways and promoting Irish culture, the Icon Factory faced significant challenges. A lack of public funding hindered its growth and limited its ability to reach its full potential. This lack of funding might be attributed to various factors, including funding priorities within the arts sector, bureaucratic hurdles, or a lack of awareness about the Factory’s valuable contributions. The creative and committed group behind the Icon Factory continued to bring positive changes to the city. Their work gained international recognition, with Phair and Szot being invited to recreate the Icon Walk in other cities like London, Boston, and Seattle.  

The COVID-19 pandemic also dealt a blow to the Factory, as lockdown restrictions and the closure of pubs in Temple Bar led to a significant fall in business for many local establishments, including the Icon Factory. Ultimately, the Icon Factory was evicted from its Temple Bar location after 13 years of operation. Plans were submitted to Dublin City Council to convert the building into a restaurant and retail unit, a proposal that sparked outrage among local artists and residents.  

This proposed conversion raises concerns about the increasing commercialisation of cultural areas like Temple Bar and the potential loss of valuable community spaces. Despite objections and appeals to preserve the Factory as a vital cultural space, the redevelopment plans went ahead, leading to its closure.  

Impact on Anti-social Behaviour

While the Icon Factory and initiatives like “Love the Lanes” aimed to improve the laneways and reduce anti-social behaviour, specific data on their impact in this regard is limited. Further research would be needed to assess the long-term effects of these projects on crime rates and public safety in the laneways.  

Cooperation with Dublin City Council

While the Icon Factory and Dublin City Council shared a common goal of revitalising the laneways of Temple Bar, no concrete evidence of formal cooperation between the two entities was found in the research material. However, it is possible that informal collaborations or consultations took place, especially regarding the Icon Walk and its integration into the urban landscape.  

Synthesis and Conclusion

The Icon Factory was a unique and valuable cultural asset to Dublin. It successfully combined artistic creation, community engagement, and the celebration of Irish heritage. Its closure represents a loss not only for the artistic community but also for the city as a whole. The Factory’s presence in Temple Bar contributed to the area’s vibrancy and fostered a sense of community, offering a space for artists to connect and for the public to engage with art in a meaningful way.

The conversion of the Icon Factory space into a commercial entity raises concerns about the increasing commercialisation of Temple Bar and the potential displacement of artistic and cultural initiatives. This trend towards commercialisation can erode the unique character of a neighbourhood and diminish its appeal as a hub for creativity and community interaction.

The story of the Icon Factory highlights the challenges faced by independent art spaces, particularly in navigating urban development pressures and securing sustainable funding. It underscores the importance of public support and community engagement in ensuring the survival and flourishing of such initiatives. The Icon Factory’s legacy serves as a reminder of the transformative power of art and the need to protect and nurture spaces that foster creativity and cultural expression.

ART OF THE COMMUNITY BY FEARGHAL SCANLON

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PAINT-A-BOX STREET ART ON GRIFFITH AVENUE

Fearghal Scanlon’s “Paint-A-Box” street art on Griffith Avenue in Dublin offers a fascinating glimpse into the intertwined nature of local history, sport, and community pride. Let’s delve deeper into the elements that make this artwork so compelling.

The Artwork:

The mosaic, with its clever use of double perspective, presents two prominent figures from different eras, linked by their connection to the area and their ambitious dreams. Arthur Griffith, a founding father of the Irish Free State, gazes towards a young Na Fianna footballer, symbolising the past inspiring the future. This juxtaposition highlights the enduring spirit of the community and its aspirations.

The Artist:

Fearghal Scanlon, a Glasnevin native and resident of Griffith Avenue, embodies the very essence of this artwork. His deep roots in the community and active involvement with Na Fianna GAA Club make him uniquely positioned to capture the spirit of the area. His passion for painting, pursued in his leisure time, has resulted in this vibrant tribute to his locality.

Arthur Griffith:

Arthur Griffith (1871-1922) was a prominent Irish nationalist, writer, and politician. He founded Sinn Féin in 1905 and played a pivotal role in the Irish struggle for independence. He served as President of Dáil Éireann from January to August 1922. His legacy is etched in Irish history, and his inclusion in the artwork speaks to his enduring influence.

Griffith Avenue:

Named in honour of Arthur Griffith, Griffith Avenue is a prominent residential road in north Dublin, known for its elegant Edwardian and Victorian houses. It stretches from Drumcondra to Glasnevin, traversing a historically significant part of the city. The avenue itself is a testament to Griffith’s contribution to Ireland, and its selection as the canvas for this artwork further amplifies the connection.

Na Fianna GAA Club:

Na Fianna CLG is a Gaelic Athletic Association club based in Glasnevin. Established in 1955, it has grown into one of the largest and most successful GAA clubs in Dublin, fostering a strong sense of community through Gaelic games. The depiction of a young Na Fianna footballer in the artwork underscores the club’s importance as a focal point for local pride and aspiration.

STREET ARTISTS IN DUBLIN FACE A NUMBER OF CHALLENGES

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STREET ART ON HALLIDAY ROAD IN STONEYBATTER

Halliday Road is a residential street located in the Stoneybatter neighbourhood, known for its mix of traditional cottages and more modern homes. Stoneybatter is a popular area with a village-like feel despite being close to Dublin’s city centre.

Two large-scale murals on the gable ends of houses in Stoneybatter were commissioned by Dublin City Council, and this is one of them. Unfortunately my view was obstructed by people and parked cars.

Chris Judge is an illustrator, artist, and children’s picture book author from Dublin, Ireland. Since 2011, Chris has written and illustrated over 35 children’s books, often collaborating with authors like Roddy Doyle, David O’Doherty, and Eoin Colfer. His first book, The Lonely Beast, won the 2011 Specsavers Irish Children’s Book of the Year Award at the Bord Gáis Energy Irish Book Awards.

Chris also creates large-scale artworks, most notably three large mosaics in collaboration with Triskill Design for Stanhope Street School in Dublin, Scoil Bhride in Kildare, and Mountrath Community School.

Street artists in Dublin face a number of challenges, including:

Legal Restrictions and Planning Permission: Dublin City Council takes a firm stance on street art, often requiring artists to obtain planning permission before painting murals. This can be a time-consuming and bureaucratic process, discouraging spontaneous expression which is a core element of street art. Occasionally, works are removed even if the building owner has consented.

Conflicting Views on Art: While many people appreciate the vibrancy and creativity that street art brings to urban spaces, others view it as vandalism or a nuisance. This can lead to tension with authorities and property owners.

Lack of Designated Spaces: Dublin lacks sufficient dedicated spaces for street artists to legally practice their craft. This leaves artists feeling limited and makes it difficult for them to showcase their work without risking legal consequences.

Competition: Dublin has a thriving street art scene. This fosters healthy competition but can also make it difficult for artists to gain recognition and stand out, especially for newcomers to the scene.

Economic Hardship: Like many artists, street artists in Dublin often struggle financially. Their art can be a source of income, but it might be inconsistent and unpredictable, especially if they face legal hurdles or lack of public recognition.

Initiatives and Organizations:

Some organisations are working to support street artists in Dublin and improve their circumstances. Groups like Subset advocate for greater acceptance of street art and lobby for the creation of more legal spaces for artists to express themselves. Such initiatives can potentially increase understanding and opportunities for street artists within Dublin’s community.

TRANSFORMATIVE URBAN LANDSCAPES

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URBAN EXPRESSION AT ARBOUR HILL BY SUBSET

Transformative Urban Landscapes: Subset’s Street Art in Ireland

Street art often serves as a vibrant and disruptive element within an urban landscape. In Ireland, the Dublin-based art collective Subset has gained prominence for its bold and thought-provoking murals that enliven city walls. Formed over a decade ago, the group is known for its diverse range of styles and its exploration of cultural icons alongside witty social commentary.

While street art’s ephemeral nature contributes to its allure, Subset’s ongoing Grey Area project has highlighted the challenges artists face in Ireland. The project emerged as a response to Dublin City Council’s approach to large-scale public artworks. Subset’s aim is to simplify the planning processes for street artists, ultimately seeking to transform Dublin into an open-air gallery.

Among Subset’s most iconic works is the 2017 mural dedicated to the grime rapper Stormzy, which graced Smithfield Plaza. The mural not only became a popular selfie spot but stood as a rare celebration of a Black artist within the Irish arts scene. Other notable Subset murals include their pieces featuring global figures like Donald Trump and David Attenborough, often infused with Subset’s signature brand of bold satire.

Alongside their independent street art, Subset has collaborated with established brands, demonstrating the growing impact and recognition of street art within contemporary advertising and visual communication. As the battle for artistic freedom in urban spaces continues, Subset remains at the forefront, pushing the boundaries of the Irish street art scene.

Let me know if want me to focus on any specific examples of Subset’s work.

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