URBAN EXPRESSION BY THE URBAN CARTOGRAPHER

There Is Much To See Here

Sony HX90V

THERE IS STILL SOME STREET ART ON FRANCIS STREET -236784-1

by

FRIDAY 19 JULY 2024

Francis Street in Dublin has a vibrant history of street art, with a noticeable shift towards more “commercial” or commissioned pieces in recent years. This trend is likely driven by businesses seeking to deter random graffiti and enhance their storefronts.

Vini.Bustamante, a well-known street artist, has contributed significantly to the area’s artistic landscape. Their work can be spotted on various buildings, adding a colourful and dynamic touch to the street.

One notable location for high-quality street art was the Tivoli Theatre Car Park. This space became a haven for artists, showcasing diverse styles and themes. However, the recent redevelopment of the car park into a hotel has unfortunately resulted in the loss of this unique artistic hub.

Despite this loss, Francis Street continues to evolve as a canvas for creative expression. The presence of commissioned street art adds a layer of vibrancy to the area, attracting visitors and fostering a sense of community pride. However, the debate continues regarding the balance between commercial interests and the organic, unfiltered nature of street art.

THE FROG KING BY RAPHAEL SILVA -236767-1

by

PAINT-A-BOX STREET ART AT ST LUKE’S AVENUE

Vini Bustamante, a Brazilian/Portuguese artist based in Dublin 8, created an artwork titled “Frog King.” This vibrant piece features frogs and exudes a magical and mystical quality. As an Art Director at BBDO Dublin, Vini is undoubtedly immersed in creativity and seeking inspiration. According to the information on the box the artist operates under the name Raphael Silva.

IN 1786 THE SERIAL KILLER BILLY IN THE BOWL WAS ARRESTED X-236741-1

by

PAINT-A-BOX STREET ART

Billy in the Bowl, also known as the Stoneybatter Strangler, was a notorious figure in Dublin’s dark history of the late 1700s.

Who was Billy in the Bowl?

Born without legs, Billy Davis used a large, bowl-shaped cart to move around, hence his nickname.
He was known for his immense upper body strength, which he tragically used to overpower and strangle his victims.

His Crimes:

Billy targeted mostly women, particularly young servant girls and elderly ladies, in the Stoneybatter and Grangegorman areas of Dublin.

He would lure his victims by feigning distress and calling for help, then attack them when they approached.

Capture and Aftermath:

In 1786, Billy was caught after attempting to rob two women who fought back and alerted the authorities.

While he was never convicted of murder due to lack of evidence, he was sentenced to life imprisonment for robbery with violence.
The murders in the area ceased after his incarceration, strongly suggesting his guilt.

Legacy:

Billy in the Bowl remains a chilling figure in Dublin folklore, embodying the city’s dark past of poverty, crime, and violence.

His story is often retold as a cautionary tale, reminding us of the dangers that lurked in the shadows of old Dublin.

THIS IS COWTOWN -236725-1

by

PAINT-A-BOX STREET ART ON MANOR STREET IN STONEYBATTER

I have had difficult photographing this in the past because of rubbish bags or other obstacles getting in the way.

Stoneybatter, particularly the area around Prussia Street, was historically associated with the nickname “Cowtown.” This nickname stemmed from the presence of the bustling Dublin Cattle Market, which operated in the area from the 1860s until 1973. The market played a significant role in the Irish agricultural economy, with millions of cattle, sheep, and pigs being traded annually. The sight of herds of cattle being driven through the streets solidified the association with “Cowtown.”

While many believe the name “Oxmantown Road” reinforces this connection, it actually has a different origin. It derives from the Viking word for “East,” referring to the “Eastmen” who arrived in the 9th century and established a Viking stronghold at the southern end of Stoneybatter.

The cattle market’s closure in 1973 marked the end of an era, and the nickname “Cowtown” gradually faded from use. However, the area’s rich history remains, and while the Cowtown Café is no longer in operation, its name serves as a reminder of Stoneybatter’s vibrant past.

STREET ARTISTS IN ACTION AT CHANCERY STREET 16 JULY

by

PHOTOGRAPHED USING A SONY HX90V CAMERA

The vibrant murals adorning Chancery Street near the former Fegan’s 1924 Cafe have long been a dynamic and ever-changing display of artistic expression. While once a haven for spontaneous and often subversive street art, the recent shift towards a more organised and commercial approach has sparked debate among artists and enthusiasts alike.

Observations of a team, supervisor, and van at work on a new mural confirm that the line between street art and commercial art has blurred in this particular location. What was once the domain of individual artists expressing their creativity now involves a coordinated effort, suggesting a commissioned piece rather than spontaneous creation.

This transformation reflects a broader trend in the street art world. As its popularity has grown, so too has its appeal to businesses and organisations seeking to leverage its visual impact and cultural cachet. This has led to an increase in commissioned murals, often executed by teams of artists and funded by corporate sponsors.

While some lament the loss of the raw, unfiltered spirit of traditional street art, others see this evolution as a natural progression. It provides artists with paid opportunities and exposure, while businesses benefit from the aesthetic and cultural value that street art brings to their spaces.

The case of Chancery Street highlights the complexities of this shift. While the commercialisation of street art may offer financial stability and wider recognition for artists, it also raises questions about authenticity, artistic integrity, and the potential for co-option by the establishment.

Whether this trend is a positive development or a sign of “selling out” remains a matter of debate. However, the continued evolution of street art, as exemplified by Chancery Street, reflects its enduring relevance and adaptability in a constantly changing cultural landscape.

Ultimately, the value of street art lies in its ability to spark conversations, challenge norms, and enrich urban environments. Whether created spontaneously by individuals or commissioned by organisations, it is a testament to the power of art to transform and inspire.

We Are Removing Advertising From All Our Sites