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Streets Of Dublin

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.

THE BACK LOUNGE ON UPPER EXCHANGE STREET

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FEATURING SOME STREET ART

The Back Lounge, situated on Exchange Street Upper, is recognised for its display of interesting street art, though specific pieces can change due to the temporary nature of such artwork.

Delving into the history of Exchange Street Upper, we find its roots in the 18th century as a bustling commercial hub. Its proximity to the original Custom House, located at Wellington Quay until 1791, suggests a likely connection to trade and maritime activities. Businesses on Exchange Street Upper might have served merchants, traders, and officials associated with the Custom House, offering services vital to the import and export of goods.

The street’s name itself, “Exchange,” further reinforces its potential role in facilitating transactions and trade related to customs operations. In the 19th century, Exchange Street Upper transitioned into a mixed-use area with both businesses and residences. Today, it thrives as a popular tourist destination, boasting a variety of bars, restaurants, and shops.

The historical link between nearby Exchequer Street and customs operations is also noteworthy. Its name reflects its association with the Exchequer, the government department responsible for managing public finances and revenue collection, closely tied to the activities of the Custom House.

Further research into historical maps, documents, street directories, and architectural evidence, along with gathering oral histories, could unveil a more detailed picture of Exchange Street Upper’s past and its intricate relationship with the original Custom House. These explorations promise to enrich our understanding of this historically significant corner of Dublin.

THE SPOON MAN MURAL

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COULD BE A TRIBUTE TO DECLAN WALSH AND THE ARTIST MAY WELL BE ORIEL

I suspect that this mural is by a street artist who operates under the name Oriel and it is possible that it is a tribute to Declan Walsh however there is/was another spoon man who always wore a yellow tie but unfortunately I cannot find any information about that performer.

The best known Spoon Man in Dublin City is Declan Walsh, a remarkable street performer who captivates audiences in Temple Bar with his extraordinary spoon-playing abilities. Despite losing an arm in an accident that cut short his drumming career, Declan’s love for music persevered. He found a new way to express his musicality through the spoons, creating rhythmic and energetic performances that have made him a beloved figure in Dublin’s street music scene.

Spoon Playing: A Rhythmic Tradition from Ancient Times to Today

Spoon playing is a unique and captivating form of percussion music that involves striking two or more spoons together to create rhythmic patterns. It may seem like a simple act, but the technique and artistry behind it have been refined over centuries, resulting in a diverse range of musical expressions.  

Origins:

The history of spoon playing is deeply rooted in ancient cultures. Evidence suggests that people used bones and other similar objects as percussion instruments as far back as prehistoric times. Spoon playing, as we know it today, likely emerged from this tradition.  

Ancient Civilisations: There are depictions of spoon-like instruments in ancient Egyptian tomb paintings and references to spoon playing in ancient Greek and Roman texts.  
Folk Traditions: Spoon playing became an integral part of folk music across many cultures worldwide. It was often used to accompany dances and celebrations, adding a lively and rhythmic element to the festivities.  

Appalachian Music: In the United States, spoon playing gained popularity in Appalachian music, where it blended seamlessly with fiddle tunes, ballads, and other traditional forms.  
Jug Bands: Spoons also found a place in early 20th-century American jug bands, adding a percussive layer to their bluesy and ragtime sounds.  
Popularity Today:

While perhaps not as widespread as other musical instruments, spoon playing continues to thrive in various forms.

Folk and Traditional Music: Spoon playing remains a beloved tradition in folk and traditional music circles around the world.
Contemporary Music: Some contemporary musicians have incorporated spoons into their music, showcasing the instrument’s versatility and unique sound.
Street Performers: As exemplified by Declan Walsh in Dublin, spoon playing is a captivating art form often found in street performances, delighting passersby with its rhythmic energy.
Cultural Celebrations: Spoon playing still plays a role in cultural celebrations and gatherings, connecting people to their heritage and traditions.
Spoon playing’s enduring popularity is a testament to its accessibility, versatility, and ability to transcend cultural boundaries. The instrument’s simple nature allows anyone to pick it up and create music, while its rich history and cultural significance add depth and meaning to the performance.

In a world filled with complex and technologically advanced instruments, the humble spoon remains a powerful tool for musical expression, reminding us of the joy and creativity that can be found in the simplest of things.

TEMPLE BAR WAS VERY COLOURFUL TODAY

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IMMEDIATELY AFTER SOME REALLY INTENSE RAIN

Temple Bar was very colourful today, immediately after some really intense rain. The light reflecting off the cobblestones made everything look bright and colourful, especially the street art by Shane Sutton on the builders’ hoarding. Shane Sutton is a well-known Irish street artist known for his vibrant and often humorous murals.

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