URBAN EXPRESSION BY THE URBAN CARTOGRAPHER

There Is Much To See Here

Urban Culture

THE FROG KING BY RAPHAEL SILVA -236767-1

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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

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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

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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.

MORE MONOCHROME STREET ART BY ORIEL X-236690-1

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UPPER ORMOND QUAY

I still know nothing the street artist who is now operating under the name Oriel so I will take this opportunity to discuss Upper Ormond Quay.

Upper Ormond Quay is a historic quay located on the north side of the River Liffey in Dublin, Ireland. Built around 1800, it is characterised by its granite ashlar construction and is part of a series of continuous quays lining the river. The quay walls are made of ashlar granite blocks with a saddle-back finish and feature iron stays for ladders descending to the water level. It is bounded on the north side by a concrete slab pavement and on the east by Grattan Bridge (formerly Essex Bridge).

Upper Ormond Quay is situated between O’Donovan Rossa Bridge and Grattan Bridge and is significant in the context of Dublin’s economic and maritime development as Ireland’s principal port.

The bridge that was originally named Essex Bridge, in honour of Arthur Capel (1631-83), first Earl of Essex and Lord Lieutenant of Ireland (appointed 1672), was renamed in honour of Henry Grattan was indeed renamed Grattan Bridge in honour of Henry Grattan, an Irish politician and statesman. The renaming occurred in 1875.

LOST CAT COULD BE BY ASBESTOS

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LOCATED ON ORMOND QUAY

Asbestos: From ‘Lost’ Posters to Urban Iconography

Asbestos, the Dublin-based street artist, has captured the city’s imagination and beyond for nearly two decades. His journey reveals a fascinating evolution, a deepening exploration of themes like identity, memory, and the social fabric of urban life.

Early Days and the Power of the “Lost”

Asbestos first emerged in the early 2000s with his iconic “Lost” poster and sticker series. These stark, text-based designs featured descriptions of seemingly mundane lost objects: a single key, a glove, a crumpled photograph. They were deliberately enigmatic, inviting passersby to consider the stories behind these lost fragments and the hidden narratives that exist within our everyday surroundings.

Beyond their visual impact, the “Lost” series created a sense of participation. People who found a poster or sticker often reached out to the artist, becoming collaborators in a city-wide performance. This interactive element highlighted Asbestos’s ability to transform the urban environment into a shared creative space.

Evolving Themes: Identity and Social Commentary

Asbestos’s work gradually broadened to include mixed-media portraiture. Often featuring masked figures, these portraits explored the concept of identity – the masks symbolising both concealment and an exploration of multiple selves. The artist’s personal narrative is also intertwined here, referencing the car bomb that went off near his mother before his birth. The portraits became reflections on chance, survival, and the fragility of existence.

In recent years, Asbestos has embraced larger-scale murals. These pieces often address social and political issues with a potent visual language. His iconic “What is Home?” mural in Cork, Ireland directly challenged the country’s housing crisis, demonstrating his use of street art as a tool for social commentary.

The “Lost” Series: Transformation and Legacy

While the “Lost” series remains foundational to Asbestos’s legacy, it has undergone a metamorphosis. The artist has begun incorporating found objects into his installations, adding a tangible layer to the concept of loss and discovery. He also now sometimes reveals the “finders” of the original lost items within his artwork, turning the ephemeral interactions of the early days into lasting narratives woven into the city’s visual history.

A Pioneering Force

Asbestos’s journey has been marked by a restless experimentation and a commitment to engaging with vital social issues. He has helped legitimise street art as a powerful medium for introspection and social critique. While his identity remains shrouded in the mystique so essential to the street art ethos, his work speaks volumes, challenging and inspiring viewers in equal measure.

DEFACED ARTWORK AND MURAL AT 30 MANOR STREET

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LOCALLY KNOWN AS THE PIGEON HOUSE

The ‘Pigeon House’ of Stoneybatter: A Story of Decay, Art, and Controversy at 30 Manor Street”

Once a bustling residence and business on Manor Street, the building at No. 30 has now fallen into a state of disrepair, earning it the unfortunate moniker of ‘The Pigeon House.’ This dilapidated property has been a magnet for pigeons for years, causing a continuous nuisance for the locals of Stoneybatter.

Despite vibrant attempts at revitalisation through street art, both the building and its artwork have suffered from neglect and vandalism.

30 Manor Street has a rich history dating back to 1862 when it was the residence of James Campbell Moore, a clerk at the Landed Estates Court. However, the property has been plagued by a persistent pigeon problem since October 2020, when local media reported on a resident facing legal action for attracting an infestation of feral pigeons. The birds took up residence at 30 Manor Street, their droppings soiling sidewalks and nearby homes.

The property, which is currently for sale, was previously designed as a residential unit above a retail space. It requires complete refurbishment and boasts a large rear garden with potential for development. Despite its potential, the building has remained neglected since its sale in 2018.

Stoneybatter is home to an ongoing street art project, with murals appearing throughout the neighbourhood. Unfortunately, two murals associated with 30 Manor Street have met differing fates. ‘The Urban Living Room,’ a vibrant mural painted by Dublin-based artist Sorcha O’Higgins in June 2021, has been defaced by graffiti. The Dublin City Council plans to restore it [they have done so]. Additionally, French artist Claire Prouvost, known for her diverse styles, has contributed to Stoneybatter’s artistic landscape with a mural next to Rea auctioneers.

The saga of 30 Manor Street raises questions about the challenges of redevelopment, the protection of street art, and the management of urban wildlife conflicts.

For further insights into the pigeon problem, refer to the Dublin Inquirer article titled ‘In Stoneybatter, ambivalence about the Pigeon House.’ (https://www.dublininquirer.com/2017/11/15/in-stoneybatter-ambivalence-about-the-pigeon-house/)

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