HEADLESS URBAN EXPRESSION

There Is Much To See Here

MORE MONOCHROME STREET ART BY ORIEL X-236690-1

by

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.

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.

DON’T REMOVE MURAL BY ASBESTOS

by

VIDEO RECORDED 2 JUNE 2024 BY INFOMATIQUE

VISIT THE JUNE 2024 PHOTO GALLERY

The “Do Not Remove/Não Remova” mural on Ormond Quay in Dublin and the “What is Home?” mural in Cork are both powerful examples of the work of renowned Dublin street artist Asbestos.

Do Not Remove/Não Remova:

This mural, unveiled in 2022, is a collaboration between Asbestos and Brazilian artist Neto Vettorello. Celebrating the bicentennial of Brazilian independence and the diversity of Dublin city, the mural blends vibrant colors, geometric patterns, and imagery reflecting both cultures. The title, inspired by an inscription found on the boarded-up building previously occupying the site, adds a layer of historical context and intrigue.

What is Home?:

This large-scale mural in Cork directly addresses the pressing issue of the housing crisis in Ireland. Featuring a young boy holding a cardboard sign with the question “What is Home?”, it highlights the plight of those facing homelessness and housing insecurity. The stark imagery and simple yet impactful message make it a thought-provoking and emotionally resonant piece of street art.

Asbestos:

Asbestos is a well-known and respected figure in the Dublin street art scene. Having emerged in the early 2000s, his work is characterized by a unique blend of social commentary, cultural references, and technical skill. He initially gained recognition for his iconic “Lost” posters and stickers, which became a ubiquitous feature of the city’s urban landscape. Over the years, Asbestos has expanded his repertoire to include mixed-media portraiture, large-scale murals, and installations, often addressing themes of identity, memory, and urban life.

Both the “Do Not Remove/Não Remova” and “What is Home?” murals showcase Asbestos’ ability to use his art to spark conversations and raise awareness about important social and cultural issues. They stand as testaments to the power of street art to transform public spaces into vibrant expressions of shared heritage and social commentary.

LOST CAT COULD BE BY ASBESTOS

by

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

by

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/)

COWTOWN STREET ART ON PRUSSIA STREET

by

PHOTOGRAPHED 2 APRIL 2024 USING A CANON 1Ds MKIII

If a old Dubliner mentions Cowtown they are likely to be referring to the area around Manor Street, Manor Place, and surrounding roads in Stoneybatter on the north side of Dublin. Here’s a breakdown of its history and how it got the nickname “Cowtown”:

A moo-vellous bit of Dublin history: Stoneybatter’s Cowtown

Stoneybatter, a vibrant neighborhood on Dublin’s northside, has a fascinating past as a centre for the cattle trade. Nicknamed “Cowtown” due to the presence of a massive cattle market in the mid-19th century, the area bustled with activity and became intrinsically linked to its bovine business.

The Rise of Cowtown

Dublin Cattle Market: Established in the mid-1800s near Prussia Street (now the Grangegorman TU Dublin campus), the Dublin Cattle Market was a major economic driver. At its peak, it was one of the largest cattle markets in Europe.

A Hub for the Cattle Trade: Farmers, herders, dealers, and associated businesses flocked to Stoneybatter to be close to the market. This influx created a unique community centred around the cattle trade.

The Name “Cowtown”: The nickname likely arose from the constant presence of cattle on the streets. While some suggest it might have had a slightly derogatory connotation in the past, the name seems to have been adopted with pride by residents, reflecting their community’s identity.
Cowtown’s Legacy

Market Decline: The cattle market’s importance gradually diminished in the early 20th century due to the rise of railways and smaller regional markets. It eventually closed in the 1970s.

Transformation and Reminders: Stoneybatter has undergone significant change and gentrification, but reminders of its Cowtown past remain:

Informative plaques mark the former location of the cattle market.
Street Art: The mural I have shared (with the cow, sunglasses, and cowboy hat) adds a playful touch, referencing the area’s history.

While the Cowtown Cafe is no longer open, its name echoed the area’s history.

Exploring Further:

Bernard Neary’s “Dublin 7” provides a deeper exploration of the area’s local history.
The Come Here To Me! blog (https://comeheretome.com/about/) often features articles on Dublin’s history, including the cattle market.

You will find links to buy products from Amazon, Google and other partners. If you click on these links, you’ll find that the URL includes a small extra piece of text which identifies that the click came from my websites. This text is an affiliate code, and it means that I get a small payment if you choose to buy that product. These affiliate links help pay the costs of producing my websites and ensure that the content is free to you.