HEADLESS URBAN EXPRESSION

There Is Much To See Here

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/)

COWTOWN STREET ART ON PRUSSIA STREET

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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.

THIS MURAL OF MASA KHADER IS ON A WALL AT CASTLEWOOD PLACE

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BY EMMALENE BLAKE

Finding information about this mural online proved challenging.

Masa Khader, along with her family, tragically lost her life in an Israeli airstrike on their home in Rafah, Gaza Strip on 21st October. The airstrike claimed the lives of Masa, her 4-year-old sister Lina, and their parents, Loay Khader and Samar al-Atrash.

Samia al-Atrash, Masa’s aunt and the woman seen cradling her lifeless body in the heart-wrenching news photo, reached out to an Irish artist named Emmalene Blake after seeing a mural inspired by that very image.

The mural, painted by Blake in Dublin, features the Palestinian flag as the child’s death shroud, and it has garnered widespread attention on social media. Samia al-Atrash, still alive and residing in Rafah, expressed her connection to the mural and the heartbreaking loss of her family members.

Emmalene Blake is a well-known Irish street artist, teacher, and activist based in Dublin. Here’s what you should know about her:

Artistic Style: Emmalene’s art often centres on social and political themes. She’s known for her large-scale murals that are striking, bold, and often feature iconic figures.

Her work frequently addresses issues like climate change, social justice, LGBTQ+ rights, and representation of women and marginalised communities.

Some of her most famous murals include:
A portrait of George Floyd in Dublin, created in the wake of the Black Lives Matter protests.
A depiction of Irish writer Sinéad O’Connor as a statement on mental health and Ireland’s treatment of women.
A mural of Kellie Harrington, celebrating the Irish Olympic boxing champion.
Murals celebrating frontline healthcare workers during the COVID-19 pandemic.

Alongside her art, Emmalene works as an art teacher and is a vocal activist. She frequently participates in workshops and talks, and uses her platform to advocate for causes she believes in.

STREET ART ON POOLBEG STREET

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27 MARCH 2024

I was unable to find any information relating to this mural which is actually on Townsend Street rather than Poolbeg Street.

Poolbeg Street was named after a small pool or inlet on the south side of the River Liffey. The name “Poolbeg” referred originally to a tidal pool located out into Dublin harbour and surrounded by sand bars. The names of places like Poolbeg, derived from the words ‘little pool’, date back all the way to medieval Ireland, with the earliest record of the placename dating from around 1488.

Poolbeg Street was established on reclaimed land between Townsend Street and the present-day south quays. This parcel of ground was leased to Luke Gardiner in 1741, and he began to develop houses and shops along this street. It’s home to various businesses and residences and has a rich history tied to the development of Dublin city.

LIBERTY LANE IS KNOWN FOR STREET ART

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PHOTOGRAPHED ON ST PATRICK’S DAY 2024

Liberty Lane is known for its vibrant displays of street art so let us discuss the lane’s history, significance, and safety.

Why Is It Known as Liberty Lane?

The name ‘Liberty Lane’ has its roots in the area’s rich history. The Liberties, the wider district where the lane is situated, were once an independent trading zone outside the official jurisdiction of Dublin City. This autonomous status bestowed a sense of freedom, leading to the name ‘The Liberties’. It’s believed that Liberty Lane got its name from this association.

History

Liberty Lane has witnessed Dublin’s transformation through the ages. Once a hub of working-class life, the lane has seen both decline and revitalisation. In recent years, it has become a canvas for creative expression through street art.

Was It Once Longer?

There is some debate about whether Liberty Lane was once much longer. Some suggest that it might have extended from Kevin Street to Portobello, though there’s little concrete evidence to support this.

The Quality of Street Art

Liberty Lane boasts an impressive collection of street art, ranging from bold murals to intricate stencils. Artists are drawn to the lane for its permissive atmosphere and appreciative audience. The quality of artwork varies, but you’re guaranteed to find some truly striking pieces.

Popularity with Street Artists

There’s an understanding that Liberty Lane offers a relatively safe space for street artists to experiment and showcase their work without the immediate risk of it being removed. While technically street art without specific permission might still be considered illegal, there seems to be a tacit agreement that this lane is a designated area for this form of expression.

Is It Safe to Visit?

I mention this because I had an unpleasant episode on this lane in 2019. Like any urban area, it’s wise to be generally aware of your surroundings. During the day, Liberty Lane is safe to explore and enjoy the artwork. At night, it’s advisable to visit with a companion rather than alone. Stick to the well-lit areas of the lane and be mindful of your belongings.

In Summary

Liberty Lane is a testament to the ever-evolving nature of Dublin and the growing acceptance of street art as a legitimate art form. Its colourful displays and historical significance make it a worthwhile place to explore, especially during the day.

A Different But Important Discussion

The rise of commercial and sponsored street art raises an important question about how it impacts the future of the art form. Here are some arguments for and against this trend.

Arguments Against Commercialisation

Loss of Authenticity: The traditional essence of street art lies in its countercultural roots – an expression outside the confines of galleries and commercialisation. Some fear that as street art becomes more commercialised, it loses its core spirit of rebellion, social commentary, and being art for the people.

Co-optation of the Message: When a brand sponsors street art, there’s a risk of the artist’s original message being diluted or entirely subverted to serve a commercial purpose. This raises concerns about street art turning into a glorified advertising medium.

Gentrification: Commercialisation of street art can contribute to gentrification in areas where these artworks exist. Businesses and developers may use street art to rebrand neighbourhoods, driving up rents and ultimately displacing the very communities that give street art its authenticity.

Arguments in Favour of Commercialisation

Support for Artists: Commercial projects provide opportunities and financial stability for street artists, many of whom previously struggled to sustain themselves with their art. It can offer a path to broader recognition and a livelihood.

Exposure and Accessibility: Commercialisation can bring street art to a wider audience. Brands have the resources to promote these pieces beyond the confines of specific streets, increasing public exposure and appreciation of the art form.

Potential for Powerful Partnerships: While there are risks, commercial partnerships can also result in meaningful collaborations. Brands with socially conscious messages can work with artists to amplify themes like social justice and environmentalism, potentially reaching a larger audience than the artist could alone.

The Evolving Landscape

It’s important to acknowledge that commercial interests are increasingly intertwined with street art. It’s crucial to have an ongoing dialogue about the implications:

Transparency: Full disclosure about the sponsorship or commercial aspects of a work can help the public distinguish between purely artistic works and those with commercial interests.

Balance: Street artists should maintain a balance between commercial projects and independent work to ensure that the spirit of the art form isn’t entirely lost.

Critical Discourse: It’s vital for critics, enthusiasts, and the street art community to evaluate the commercialisation of street art with a critical eye, questioning its long-term effects.

Conclusion

The growing presence of commercial street art is a complex trend with both benefits and drawbacks. Ultimately, the future of street art will rely on how artists, critics, and the public grapple with these issues, hopefully maintaining the core spirit of the art form while navigating new artistic realities.

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