HEADLESS URBAN EXPRESSION

There Is Much To See Here

TILES BY KILLIAN MULLARNEY FEATURING BIRDS NATIVE TO IRELAND -236750-1

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MICRO PUBLIC SPACE ON WOLFE TONE STREET

What I would describe as a micro public space on Wolfe Tone Street, Wolfe Tone Crescent, features tiles showcasing Irish birds. These beautiful bird images are the work of renowned Irish bird artist Killian Mullarney. The installation is a collaboration between MCD Landscaping and Dublin City Council’s Parks & Landscape Services, enhancing the area and creating an outdoor gallery for the community.

Delayed due to the Covid-19 pandemic, this landscape refurbishment project revitalises Wolfe Tone Street, providing residents and visitors a unique space to enjoy art and nature. The space is at the entrance to Wolfe Tone Court, a public housing complex managed by Dublin City Council, has been a vital part of the community for many years, providing housing for families and individuals in need.

KILLIAN MULLARNEY: A CELEBRATED IRISH ORNITHOLOGIST AND BIRD ARTIST

Killian Mullarney is a highly acclaimed Irish ornithologist, bird artist, and bird tour leader. He is considered one of the most accomplished bird artists of our time, specialising in field guide illustrations and plate designs.

His artwork is featured in many renowned bird guides, most notably the Collins Bird Guide, where he has been involved since its inception. His detailed and accurate illustrations have helped countless birdwatchers identify and appreciate different species. He also designed a series of Irish definitive stamps for An Post (the Irish postal service) illustrating Irish birds, issued between 1997 and 2004.

Mullarney has co-authored influential books on bird identification, including “The New Approach to Bird Identification.” He is also a sought-after consultant for bird identification and has contributed to numerous birding journals and magazines. As an experienced birdwatcher, Mullarney leads bird tours worldwide, sharing his expertise and passion for birds with enthusiasts.

Mullarney’s dedication to bird conservation and his exceptional talent have earned him a prominent place in the world of ornithology and bird art. His work continues to inspire and educate birdwatchers of all levels, and his contribution to the field is immeasurable.

BIRDS NATIVE TO IRELAND

Ireland, being an island, has a unique bird population that differs from its closest neighbour, Great Britain. There are over 450 species on the Irish list, but many are rare, vagrant, or migratory birds.

Here are a few examples of birds native to Ireland:

Eurasian Jay (Garrulus glandarius hibernicus)
Coal Tit (Periparus ater hibernicus)
Red Grouse (Lagopus lagopus hibernicus)
Chough (Pyrrhocorax pyrrhocorax)
Corncrake (Crex crex)
Peregrine Falcon (Falco peregrinus)
These are just a few examples of the diverse birdlife found in Ireland. The mild climate and varied habitats of Ireland provide a haven for a wide range of bird species throughout the year.

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.

STREET ARTISTS IN ACTION AT CHANCERY STREET 16 JULY

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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

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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.

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