1916 Memorial
By Barry Flannagan
By Tony Cragg
About the Artist: Sir Anthony Douglas Cragg CBE RA, also known as Tony Cragg, is an Anglo-German sculptor born in Liverpool on 9 April 1949. His early work as a lab technician likely influenced his ongoing fascination with science and technology, themes which are clearly reflected in his art. Since 1977, he has been based in Wuppertal, Germany. He studied art at Gloucestershire College of Arts and Technology, Cheltenham, Wimbledon School of Art, London, and the Royal College of Art, London, where he completed an MA in 1977.
About the Sculpture: The sculpture 'Untitled' explores the form of a glass bottle or flask, revealing Cragg's interest in science, technology, and manufacturing. Though cast in bronze, the sculpture retains the familiar shape of laboratory glassware, creating an intriguing contrast. The work's dynamic form suggests movement; the sweeping contour, or 'open lip', implies a fluidity between upright and horizontal positions. This exemplifies Cragg's focus on transformation and the potential within seemingly static objects.
About the Venue: The Irish Museum of Modern Art (IMMA), Ireland's leading national institution for modern and contemporary art, is located in Kilmainham, Dublin.
About the Sculpture: The sculpture 'Untitled' explores the form of a glass bottle or flask, revealing Cragg's interest in science, technology, and manufacturing. Though cast in bronze, the sculpture retains the familiar shape of laboratory glassware, creating an intriguing contrast. The work's dynamic form suggests movement; the sweeping contour, or 'open lip', implies a fluidity between upright and horizontal positions. This exemplifies Cragg's focus on transformation and the potential within seemingly static objects.
About the Venue: The Irish Museum of Modern Art (IMMA), Ireland's leading national institution for modern and contemporary art, is located in Kilmainham, Dublin.
James Joyce
Without Trace
LOST WITHOUT TRACE THEN FOUND IN A DAMAGED CONDITION [TRACE BY GRACE WEIR]
This is a very old photograph dating from 6 August 2006. Unfortunately I do not know what camera was used but I suspect that it was a Canon IXUS [known as a Powershot in the USA].
From about 1988 until 2013 this large sculpture by sculptor Grace Weir stood across the street from St Stephen’s Green, near Merrion Row. I thought that the sculpture was "Portals" but I recently discovered that it was "Trace".
Unfortunately this sculpture had to be removed to make room for traffic that had to be diverted because of the extension of the LUAS green line. It is now in storage but when it was "discovered" in 2017 four of the Portland-stone blocks were missing.
Trace had been commissioned in 1988 as part of Dublin’s millennium celebrations. It was made from limestone and Portland stone, with the latter taken from the Custom House and donated to the artist when the building was undergoing restoration works in the late 1980s.
Grace Weir studied at the National College of Art and Design and also at Trinity College Dublin, where she won an award for her Masters in Multi-Media graduation project. She co-represented Ireland at the 49th International Venice Biennale in 2001 with her video installation 'around now'.
Grace Weir collaborated with an astrophysicist exploring aspects of Einstein's relativity and was commissioned by Cornerhouse in Manchester UK to make two film works ‘Dust defying gravity' and ‘Bending spacetime in the basement' in regard to this. They were premiered at her solo show titled ‘a fine line' at Cornerhouse, Manchester UK in September 2003. In May 2005 she was elected a member of Aosdána. Her work is held in many collections including that of the Irish Museum of Modern Art.
This is a very old photograph dating from 6 August 2006. Unfortunately I do not know what camera was used but I suspect that it was a Canon IXUS [known as a Powershot in the USA].
From about 1988 until 2013 this large sculpture by sculptor Grace Weir stood across the street from St Stephen’s Green, near Merrion Row. I thought that the sculpture was "Portals" but I recently discovered that it was "Trace".
Unfortunately this sculpture had to be removed to make room for traffic that had to be diverted because of the extension of the LUAS green line. It is now in storage but when it was "discovered" in 2017 four of the Portland-stone blocks were missing.
Trace had been commissioned in 1988 as part of Dublin’s millennium celebrations. It was made from limestone and Portland stone, with the latter taken from the Custom House and donated to the artist when the building was undergoing restoration works in the late 1980s.
Grace Weir studied at the National College of Art and Design and also at Trinity College Dublin, where she won an award for her Masters in Multi-Media graduation project. She co-represented Ireland at the 49th International Venice Biennale in 2001 with her video installation 'around now'.
Grace Weir collaborated with an astrophysicist exploring aspects of Einstein's relativity and was commissioned by Cornerhouse in Manchester UK to make two film works ‘Dust defying gravity' and ‘Bending spacetime in the basement' in regard to this. They were premiered at her solo show titled ‘a fine line' at Cornerhouse, Manchester UK in September 2003. In May 2005 she was elected a member of Aosdána. Her work is held in many collections including that of the Irish Museum of Modern Art.
By Edward Delaney
TWO MEMORIALS FOR THE PRICE OF ONE [AT THE NORTHEAST CORNER OF ST STEPHEN'S GREEN]
The Famine sculpture, located within St Stephen’s Green, is a poignant memorial to the victims of the Famine (1845–51). It features three figures and a dog [I have never seen an account that mentioned the dog], sculpted by Edward Delaney in 1967. This sculpture stands as a stark reminder of one of the most devastating periods in Irish history.
The Wolfe Tone statue, situated outside the park, is a solitary figure cast in bronze that has weathered green over the decades. The statue commemorates Theobald Wolfe Tone, a founding father of Irish republicanism. The statue is often referred to by locals as ‘Tonehenge’, a playful nickname that combines ‘Wolfe Tone’ with ‘Stonehenge’, the famous prehistoric monument in England. This nickname is part of a broader Dublin tradition of giving humorous nicknames to local sculptures.
Other examples include the ‘Tart with the Cart’ for the Molly Malone Statue, and the ‘Prick with the Stick’ for the James Joyce Statue.
Across the street from these sculptures, there used to be a sculpture named TRACE by Grace Weir. Commissioned in 1988 as part of Dublin’s millennium celebrations, it consisted of two archways made of Portland stone from the Customs House, limestone, bronze, and stainless steel. However, due to changes in traffic flow for the Luas Cross City, the sculpture was dismantled in 2013 and is currently in storage.
Nicknames
The Spire: This towering stainless steel spike on O'Connell Street is known variously as "The Stiletto in the Ghetto" or "The Spike".
The Molly Malone Statue: This representation of a fishmonger (made famous by a song) is affectionately called "The Tart with the Cart" or "The Dish with the Fish".
The Oscar Wilde Statue: Reclining languidly in Merrion Square, the literary giant is dubbed "The Fag on the Crag".
The Famine sculpture, located within St Stephen’s Green, is a poignant memorial to the victims of the Famine (1845–51). It features three figures and a dog [I have never seen an account that mentioned the dog], sculpted by Edward Delaney in 1967. This sculpture stands as a stark reminder of one of the most devastating periods in Irish history.
The Wolfe Tone statue, situated outside the park, is a solitary figure cast in bronze that has weathered green over the decades. The statue commemorates Theobald Wolfe Tone, a founding father of Irish republicanism. The statue is often referred to by locals as ‘Tonehenge’, a playful nickname that combines ‘Wolfe Tone’ with ‘Stonehenge’, the famous prehistoric monument in England. This nickname is part of a broader Dublin tradition of giving humorous nicknames to local sculptures.
Other examples include the ‘Tart with the Cart’ for the Molly Malone Statue, and the ‘Prick with the Stick’ for the James Joyce Statue.
Across the street from these sculptures, there used to be a sculpture named TRACE by Grace Weir. Commissioned in 1988 as part of Dublin’s millennium celebrations, it consisted of two archways made of Portland stone from the Customs House, limestone, bronze, and stainless steel. However, due to changes in traffic flow for the Luas Cross City, the sculpture was dismantled in 2013 and is currently in storage.
Nicknames
The Spire: This towering stainless steel spike on O'Connell Street is known variously as "The Stiletto in the Ghetto" or "The Spike".
The Molly Malone Statue: This representation of a fishmonger (made famous by a song) is affectionately called "The Tart with the Cart" or "The Dish with the Fish".
The Oscar Wilde Statue: Reclining languidly in Merrion Square, the literary giant is dubbed "The Fag on the Crag".
Veronica Guerin
VERONICA GUERIN MEMORIAL [I USE THIS SCULPTURE AT DUBLIN CASTLE AS A REFERENCE]
The Veronica Guerin Bust is a bronze sculpture located in the Memorial Garden at Dublin Castle. It was created by Irish sculptor Rowan Gillespie in memory of the investigative journalist Veronica Guerin, who was assassinated in 1996 for her reporting on organised crime. The bust depicts Guerin with a determined expression, symbolising her courage and dedication to uncovering the truth.
Today I used a Voigtlander APO LANTHAR 65mm F2 lens with my Sony FX30. This is a manual lens and it has worked very well when attached to my Sony A7RIV. In general the results were disappointing and I am wondering if there could be any reasons why the Voigtlander might not have been a good match for the Crop-Sensor FX30.
I am aware of the following:
Change in Field of View: Crop-sensor cameras have a smaller sensor than full-frame cameras. This means they effectively "crop" the image circle projected by the lens. My 65mm lens will behave more like a 97.5mm (approx) lens on the FX30 due to the 1.5x crop factor. This change in focal length can significantly impact composition and the feel of images.
While a 65mm lens will still capture images, the effective resolution will likely be lower on the FX30. This is because the same number of pixels from the lens' image circle are being spread over a smaller area. I do not believe that this is a problem.
Focusing Challenges: As there is no EVF [viewfinder] manual focusing was very difficult on the FX30. I suspect that this was what caused the reduction in quality that I encountered.
The Voigtlander APO LANTHAR 65mm F2 is a fully manual focus lens designed for full-frame mirrorless cameras, especially Sony E-mount. It's known for its exceptional optical quality, build, and macro capabilities.
Key Features:
Apochromatic (APO) Design: This minimises chromatic aberrations (colour fringing), resulting in extremely sharp images with accurate colour rendition.
Macro Capabilities: Offers a 1:2 magnification ratio, allowing for close-up photography.
Fast f/2 Aperture: Great for low-light shooting and creating shallow depth-of-field for subject isolation.
All-Metal Construction: Exudes a premium feel and durability.
Smooth, Long Focus Throw: Precise for manual focusing.
Pros:
Stunning Image Quality: Delivers incredible sharpness, micro-contrast, and colour accuracy, even wide open.
Beautiful Bokeh: The smooth rendering of out-of-focus areas adds a pleasing aesthetic.
Excellent Build Quality: Feels solid and luxurious in its construction.
Versatile Focal Length: Useful for portraits, close-ups, and general "long normal" photography.
Cons:
Manual Focus Only: Not ideal for fast-paced shooting or those who strongly prefer autofocus.
Some Vignetting: Noticeable at wider apertures, but often adds a pleasing effect and easily corrected in post.
Price: Relatively expensive, but in line with similar, high-performance lenses.
Size and Weight: Can be a little bulky compared to some alternatives.
Best Suited For:
Detail-Oriented Photographers: Those who appreciate and prioritise top-notch image quality.
Macro Enthusiasts: The close-focusing capability makes it a great choice for macro work.
Portrait Photographers: The focal length and bokeh quality are excellent for portraits.
Deliberate Shooters: Those who enjoy the tactile experience and slower pace of manual focus.
Overall:
The Voigtlander APO LANTHAR 65mm F2 is an outstanding lens for photographers demanding the highest image quality and love the experience of manual focus. Its optical performance is hard to beat, making it a worthy investment for the right user.
The Veronica Guerin Bust is a bronze sculpture located in the Memorial Garden at Dublin Castle. It was created by Irish sculptor Rowan Gillespie in memory of the investigative journalist Veronica Guerin, who was assassinated in 1996 for her reporting on organised crime. The bust depicts Guerin with a determined expression, symbolising her courage and dedication to uncovering the truth.
Today I used a Voigtlander APO LANTHAR 65mm F2 lens with my Sony FX30. This is a manual lens and it has worked very well when attached to my Sony A7RIV. In general the results were disappointing and I am wondering if there could be any reasons why the Voigtlander might not have been a good match for the Crop-Sensor FX30.
I am aware of the following:
Change in Field of View: Crop-sensor cameras have a smaller sensor than full-frame cameras. This means they effectively "crop" the image circle projected by the lens. My 65mm lens will behave more like a 97.5mm (approx) lens on the FX30 due to the 1.5x crop factor. This change in focal length can significantly impact composition and the feel of images.
While a 65mm lens will still capture images, the effective resolution will likely be lower on the FX30. This is because the same number of pixels from the lens' image circle are being spread over a smaller area. I do not believe that this is a problem.
Focusing Challenges: As there is no EVF [viewfinder] manual focusing was very difficult on the FX30. I suspect that this was what caused the reduction in quality that I encountered.
The Voigtlander APO LANTHAR 65mm F2 is a fully manual focus lens designed for full-frame mirrorless cameras, especially Sony E-mount. It's known for its exceptional optical quality, build, and macro capabilities.
Key Features:
Apochromatic (APO) Design: This minimises chromatic aberrations (colour fringing), resulting in extremely sharp images with accurate colour rendition.
Macro Capabilities: Offers a 1:2 magnification ratio, allowing for close-up photography.
Fast f/2 Aperture: Great for low-light shooting and creating shallow depth-of-field for subject isolation.
All-Metal Construction: Exudes a premium feel and durability.
Smooth, Long Focus Throw: Precise for manual focusing.
Pros:
Stunning Image Quality: Delivers incredible sharpness, micro-contrast, and colour accuracy, even wide open.
Beautiful Bokeh: The smooth rendering of out-of-focus areas adds a pleasing aesthetic.
Excellent Build Quality: Feels solid and luxurious in its construction.
Versatile Focal Length: Useful for portraits, close-ups, and general "long normal" photography.
Cons:
Manual Focus Only: Not ideal for fast-paced shooting or those who strongly prefer autofocus.
Some Vignetting: Noticeable at wider apertures, but often adds a pleasing effect and easily corrected in post.
Price: Relatively expensive, but in line with similar, high-performance lenses.
Size and Weight: Can be a little bulky compared to some alternatives.
Best Suited For:
Detail-Oriented Photographers: Those who appreciate and prioritise top-notch image quality.
Macro Enthusiasts: The close-focusing capability makes it a great choice for macro work.
Portrait Photographers: The focal length and bokeh quality are excellent for portraits.
Deliberate Shooters: Those who enjoy the tactile experience and slower pace of manual focus.
Overall:
The Voigtlander APO LANTHAR 65mm F2 is an outstanding lens for photographers demanding the highest image quality and love the experience of manual focus. Its optical performance is hard to beat, making it a worthy investment for the right user.
Castle Walls
MURALS FEATURING THE WALLS OF DUBLIN CASTLE [LITTLE SHIP STREET]
The colours are not accurate as I needed to make the drawings more visable.
I couldn’t find specific information about these Murals, featuring Dublin Castle, at Little Ship Street. I was amused that I was directed to my own Photo Blog. However, I found some historical information about Ship Street and Little Ship Street in Dublin.
Ship Street and Little Ship Street:
Ship Street, located at the back of Dublin Castle, was once known as Sheep Street. This name came about because there was a big sheep market in the area. Over the course of many years, and with the Dublin accent, Sheep Street became known as Ship Street.
The street is synonymous with Dublin Castle, the symbolic centre of political power through centuries. It includes the most impressive remaining section of Dublin’s historic defensive walls.
The area was once known as ‘Little Italy’ due to the presence of Italian immigrants.
An archaeological dig near Dublin Castle uncovered some of the city’s earliest landscape, including the original course of the River Poddle.
Dublin Castle (Ship Street Gate):
The entrance gate screen at the west side of Dublin Castle, built in 1807, is an impressive gateway marking the entrance to the Dublin Castle complex.
The gateway was designed by architect Francis Johnston and its triumphal arch form gives it a sense of monumentality.
The colours are not accurate as I needed to make the drawings more visable.
I couldn’t find specific information about these Murals, featuring Dublin Castle, at Little Ship Street. I was amused that I was directed to my own Photo Blog. However, I found some historical information about Ship Street and Little Ship Street in Dublin.
Ship Street and Little Ship Street:
Ship Street, located at the back of Dublin Castle, was once known as Sheep Street. This name came about because there was a big sheep market in the area. Over the course of many years, and with the Dublin accent, Sheep Street became known as Ship Street.
The street is synonymous with Dublin Castle, the symbolic centre of political power through centuries. It includes the most impressive remaining section of Dublin’s historic defensive walls.
The area was once known as ‘Little Italy’ due to the presence of Italian immigrants.
An archaeological dig near Dublin Castle uncovered some of the city’s earliest landscape, including the original course of the River Poddle.
Dublin Castle (Ship Street Gate):
The entrance gate screen at the west side of Dublin Castle, built in 1807, is an impressive gateway marking the entrance to the Dublin Castle complex.
The gateway was designed by architect Francis Johnston and its triumphal arch form gives it a sense of monumentality.
Wishing Hand
WISHING HAND BY LINDA BRUNKER [PHOTOGRAPHED USING AN iPHONE 12 PRO MAX UNTIL I WAS ASKED TO LEAVE]
While photographing this sculpture I was asked to discontinue and leave immediately and as my policy is to cease when requested I did so.
Linda Brunker, an internationally renowned artist, has been a full-time sculptor since graduating from Art College in 1988 in her native Ireland. Her innovative style of bronze casting astonished not only the foundry where she worked but also the public, who rushed to buy her work. Over her 30-year career, Linda Brunker has created nearly 40 public art sculptures located around the world. Her sculptures defy the heaviness and static nature of metal, appearing light and fluid, creating fragile images that captivate viewers. Linda’s studio is currently based in Southern California, and she even opened her own gallery in Los Angeles to promote her sculpture and the art of other selected Irish artists.
While photographing this sculpture I was asked to discontinue and leave immediately and as my policy is to cease when requested I did so.
Linda Brunker, an internationally renowned artist, has been a full-time sculptor since graduating from Art College in 1988 in her native Ireland. Her innovative style of bronze casting astonished not only the foundry where she worked but also the public, who rushed to buy her work. Over her 30-year career, Linda Brunker has created nearly 40 public art sculptures located around the world. Her sculptures defy the heaviness and static nature of metal, appearing light and fluid, creating fragile images that captivate viewers. Linda’s studio is currently based in Southern California, and she even opened her own gallery in Los Angeles to promote her sculpture and the art of other selected Irish artists.
Thomas Davis
Thomas Davis Statue & Memorial Fountain
The Thomas Davis Statue & Memorial Fountain in Dublin celebrates the life of a prominent 19th-century Irish nationalist, writer, and poet. Located on Dame Street, it's a significant landmark in the city.
Why is the Fountain Dry?
Unfortunately, the fountain has frequently been dry over the years. There are a few reasons for this:
Maintenance Costs and Challenges: Maintaining fountains requires constant attention. Pumps, filters, and piping need regular upkeep, which can be expensive. Older fountains might be more prone to leaks and technical failures, adding further strain to maintenance budgets. Dublin City Council may prioritise repairs on essential infrastructure, leaving fountains lower on the list.
Water Conservation: Ireland, like many places, faces increasing concerns about water resources. During dry spells or droughts, water restrictions might be in place. Operating decorative water features could be seen as conflicting with these conservation measures.
Vandalism: Unfortunately, public fountains sometimes become targets of vandalism. Damage can range from relatively minor litter to more serious issues impacting the fountain's mechanics. Repairs can be costly and repeated incidents might lead to long periods where the fountain remains dry.
Aesthetics: In some cases, a dry fountain might be a design choice. The monument itself or its sculptural elements may still be appreciated even without the water feature functioning.
Public Health Concerns: Stagnant water in fountains can sometimes pose health risks. Bacteria and algae buildup become a concern, especially if they attract birds or other animals. Rigorous cleaning and treatment protocols are needed, adding to the maintenance burden.
Changing Priorities: Historically, many fountains served the practical purpose of providing drinking water. With wider access to clean tap water, this function became less relevant. The perceived value of fountains might have shifted, impacting funding for them.
Maintenance Issues: Like many public water features, the fountain can suffer from leaks, pump problems, or other mechanical issues that require it to be shut down.
Water Conservation: Dublin occasionally faces water restrictions, especially during periods of drought. The fountain may be turned off to comply with these restrictions.
Vandalism: Sadly, public features can sometimes be targets of vandalism, which could also lead to the fountain being non-operational.
The Artist
The same artist, Edward Delaney (1930-2009), created both the statue and the fountain. Delaney was a renowned Irish sculptor known for his expressive and powerful style. His other significant works in Dublin include the Wolfe Tone Monument on St. Stephen's Green.
The Pipers
The four bronze figures surrounding the fountain that blow water through trumpets represent the four provinces of Ireland: Connacht, Leinster, Munster, and Ulster. This symbolism references Thomas Davis's poem "A Nation Once Again," which emphasises Irish unity.
More about Edward Delaney
Born in Dublin, he initially pursued a career in insurance but later trained in sculpture at the National College of Art and Design.
His work often focuses on historical and political themes, with many of his sculptures reflecting his interest in Irish nationalism.
Delaney's style is frequently described as expressionist, with figures showing bold, stylised forms and a sense of movement and intensity.
Additional Notes
The panels around the fountain basin contain scenes depicting the Irish Famine along with scenes inspired by Davis' poetry.
The monument was unveiled in 1966, attended by then-President of Ireland, Eamon De Valera.
It's important to remember that putting soap in fountains is a form of vandalism. It might seem harmless, but it leads to costly cleanups and disrupts the enjoyment of these public features.
soap powder in fountains can cause damage in a few ways:
Mechanical Strain on Pumps: Suds create additional resistance for the fountain's pumps and motors. They have to work harder to circulate the water, which can lead to overheating and potential burnout.
Clogging Filters and Pipes: Soapsuds, particularly if a lot of soap is used, can clog the filtration system designed to keep the fountain water clean. This can create blockages, further straining the pumps and potentially leaving the fountain water dirtier than usual.
Corrosion: Depending on the soap's ingredients and the materials used in the fountain, extended exposure to suds can contribute to corrosion. Soap residue can alter the water's pH levels or contain abrasives that scratch and weaken surfaces over time.
Environmental Issues: While some soaps might be biodegradable, dumping large quantities into a fountain disrupts the water's natural ecosystem. It can create an environment where algae and bacteria thrive more easily.
The Severity of the Damage
Amount of Soap: A small amount of playfully sudsy bubbles from some dish soap is unlikely to cause lasting harm. However, pranksters dumping large quantities of detergent or industrial-grade soap can create significant problems.
Type of Fountain: Fountains with a small water reservoir and limited filtration may be more susceptible to damage. Conversely, very large, robust fountains might withstand a soap attack more effectively, although cleanup will still be a hassle.
The Thomas Davis Statue & Memorial Fountain in Dublin celebrates the life of a prominent 19th-century Irish nationalist, writer, and poet. Located on Dame Street, it's a significant landmark in the city.
Why is the Fountain Dry?
Unfortunately, the fountain has frequently been dry over the years. There are a few reasons for this:
Maintenance Costs and Challenges: Maintaining fountains requires constant attention. Pumps, filters, and piping need regular upkeep, which can be expensive. Older fountains might be more prone to leaks and technical failures, adding further strain to maintenance budgets. Dublin City Council may prioritise repairs on essential infrastructure, leaving fountains lower on the list.
Water Conservation: Ireland, like many places, faces increasing concerns about water resources. During dry spells or droughts, water restrictions might be in place. Operating decorative water features could be seen as conflicting with these conservation measures.
Vandalism: Unfortunately, public fountains sometimes become targets of vandalism. Damage can range from relatively minor litter to more serious issues impacting the fountain's mechanics. Repairs can be costly and repeated incidents might lead to long periods where the fountain remains dry.
Aesthetics: In some cases, a dry fountain might be a design choice. The monument itself or its sculptural elements may still be appreciated even without the water feature functioning.
Public Health Concerns: Stagnant water in fountains can sometimes pose health risks. Bacteria and algae buildup become a concern, especially if they attract birds or other animals. Rigorous cleaning and treatment protocols are needed, adding to the maintenance burden.
Changing Priorities: Historically, many fountains served the practical purpose of providing drinking water. With wider access to clean tap water, this function became less relevant. The perceived value of fountains might have shifted, impacting funding for them.
Maintenance Issues: Like many public water features, the fountain can suffer from leaks, pump problems, or other mechanical issues that require it to be shut down.
Water Conservation: Dublin occasionally faces water restrictions, especially during periods of drought. The fountain may be turned off to comply with these restrictions.
Vandalism: Sadly, public features can sometimes be targets of vandalism, which could also lead to the fountain being non-operational.
The Artist
The same artist, Edward Delaney (1930-2009), created both the statue and the fountain. Delaney was a renowned Irish sculptor known for his expressive and powerful style. His other significant works in Dublin include the Wolfe Tone Monument on St. Stephen's Green.
The Pipers
The four bronze figures surrounding the fountain that blow water through trumpets represent the four provinces of Ireland: Connacht, Leinster, Munster, and Ulster. This symbolism references Thomas Davis's poem "A Nation Once Again," which emphasises Irish unity.
More about Edward Delaney
Born in Dublin, he initially pursued a career in insurance but later trained in sculpture at the National College of Art and Design.
His work often focuses on historical and political themes, with many of his sculptures reflecting his interest in Irish nationalism.
Delaney's style is frequently described as expressionist, with figures showing bold, stylised forms and a sense of movement and intensity.
Additional Notes
The panels around the fountain basin contain scenes depicting the Irish Famine along with scenes inspired by Davis' poetry.
The monument was unveiled in 1966, attended by then-President of Ireland, Eamon De Valera.
It's important to remember that putting soap in fountains is a form of vandalism. It might seem harmless, but it leads to costly cleanups and disrupts the enjoyment of these public features.
soap powder in fountains can cause damage in a few ways:
Mechanical Strain on Pumps: Suds create additional resistance for the fountain's pumps and motors. They have to work harder to circulate the water, which can lead to overheating and potential burnout.
Clogging Filters and Pipes: Soapsuds, particularly if a lot of soap is used, can clog the filtration system designed to keep the fountain water clean. This can create blockages, further straining the pumps and potentially leaving the fountain water dirtier than usual.
Corrosion: Depending on the soap's ingredients and the materials used in the fountain, extended exposure to suds can contribute to corrosion. Soap residue can alter the water's pH levels or contain abrasives that scratch and weaken surfaces over time.
Environmental Issues: While some soaps might be biodegradable, dumping large quantities into a fountain disrupts the water's natural ecosystem. It can create an environment where algae and bacteria thrive more easily.
The Severity of the Damage
Amount of Soap: A small amount of playfully sudsy bubbles from some dish soap is unlikely to cause lasting harm. However, pranksters dumping large quantities of detergent or industrial-grade soap can create significant problems.
Type of Fountain: Fountains with a small water reservoir and limited filtration may be more susceptible to damage. Conversely, very large, robust fountains might withstand a soap attack more effectively, although cleanup will still be a hassle.
By Jim Flavin RIP
I WAS SURPRISED TO DISCOVER THAT THIS WAS A BRONZE SCULPTURE [ADULT AND CHILD SEAT BY JIM FLAVIN]
St. Catherine’s Graveyard Park, located off Thomas Street in Dublin, is a place steeped in history. Once a graveyard, it has undergone significant conservation efforts over the past three years. The park now features a beautiful sculpture called “Adult & Child Seat” by artist Jim Flavin (1961–2004).
Let’s delve into the details of this intriguing artwork:
Artwork Description: The Adult & Child Seat takes inspiration from the headstones that once adorned the park. Crafted in bronze, this curvilinear seat symbolises the continuity of life. Flavin’s signature abstract flowing forms are evident in this piece.
Flavin’s Style: As an abstract artist, Flavin was captivated by the fluidity of bronze. He explored the material’s potential, creating soft, flowing shapes. His focus on different sections within each artwork allowed him to achieve the desired form and texture. The choice of bronze as his expressive medium was pivotal.
Significance of the Site: Interestingly, Flavin deliberately selected St. Catherine’s as the location for his sculpture, even though it wasn’t among the pre-designated sites. This decision adds to the piece’s uniqueness and connection to the park’s history.
About Jim Flavin: Born in Limerick in 1961, Flavin studied at the National College of Art and Design in Dublin and the Crawford College of Art in Cork. His artistic journey led him to the Lasallian International Art and Culture Centre near Florence, where he discovered his passion for bronze casting. Upon returning to Ireland, he founded the Bronze Art Ltd. foundry in Dublin. Flavin also served on the executive board of the Sculptors Society of Ireland from 1992 to 1993.
The Adult & Child Seat stands as a testament to Flavin’s artistic vision and the rich history of St. Catherine’s Graveyard Park
St. Catherine’s Graveyard Park, located off Thomas Street in Dublin, is a place steeped in history. Once a graveyard, it has undergone significant conservation efforts over the past three years. The park now features a beautiful sculpture called “Adult & Child Seat” by artist Jim Flavin (1961–2004).
Let’s delve into the details of this intriguing artwork:
Artwork Description: The Adult & Child Seat takes inspiration from the headstones that once adorned the park. Crafted in bronze, this curvilinear seat symbolises the continuity of life. Flavin’s signature abstract flowing forms are evident in this piece.
Flavin’s Style: As an abstract artist, Flavin was captivated by the fluidity of bronze. He explored the material’s potential, creating soft, flowing shapes. His focus on different sections within each artwork allowed him to achieve the desired form and texture. The choice of bronze as his expressive medium was pivotal.
Significance of the Site: Interestingly, Flavin deliberately selected St. Catherine’s as the location for his sculpture, even though it wasn’t among the pre-designated sites. This decision adds to the piece’s uniqueness and connection to the park’s history.
About Jim Flavin: Born in Limerick in 1961, Flavin studied at the National College of Art and Design in Dublin and the Crawford College of Art in Cork. His artistic journey led him to the Lasallian International Art and Culture Centre near Florence, where he discovered his passion for bronze casting. Upon returning to Ireland, he founded the Bronze Art Ltd. foundry in Dublin. Flavin also served on the executive board of the Sculptors Society of Ireland from 1992 to 1993.
The Adult & Child Seat stands as a testament to Flavin’s artistic vision and the rich history of St. Catherine’s Graveyard Park
Wood Quay Sculpture
By Michael Warren
The Wood Quay Sculpture
Outside Dublin's Civic Offices on Wood Quay stands a large, imposing wooden sculpture, often referred to as the "Wood Quay" sculpture. The sculpture's abstract form evokes the prow of a Viking longship, a powerful and deliberate choice for this historically significant location.
The Artist: Michael Warren
The Wood Quay sculpture was created by renowned Irish sculptor Michael Warren, born in 1950 in Gorey, County Wexford. Warren is known for his large-scale, site-specific public artworks that often incorporate natural materials. His work frequently investigates themes of history, the environment, and a sense of place.
Why Wood Quay?
The placement of the "Wood Quay" sculpture is deeply symbolic. Wood Quay marks a site of profound historical importance, where the remains of a significant Viking settlement were discovered. The sculpture serves as a potent reminder of Dublin's rich Viking heritage. Its ship-like form suggests the arrival of the Norse people and the profound impact they had on shaping the city.
Moreover, the use of wood as a material might allude to the original quay's construction, which would have likely used timber. The organic nature of wood, though a durable material, can also speak to the passage of time and the layers of history that exist beneath the modern city.
The Artwork's Impact
The "Wood Quay" sculpture has become a landmark in Dublin and a starting point for many visitors interested in Dublin's Viking past. The bold and abstract nature of the artwork invites contemplation and provides a visual focal point in an otherwise predominantly urban environment.
Outside Dublin's Civic Offices on Wood Quay stands a large, imposing wooden sculpture, often referred to as the "Wood Quay" sculpture. The sculpture's abstract form evokes the prow of a Viking longship, a powerful and deliberate choice for this historically significant location.
The Artist: Michael Warren
The Wood Quay sculpture was created by renowned Irish sculptor Michael Warren, born in 1950 in Gorey, County Wexford. Warren is known for his large-scale, site-specific public artworks that often incorporate natural materials. His work frequently investigates themes of history, the environment, and a sense of place.
Why Wood Quay?
The placement of the "Wood Quay" sculpture is deeply symbolic. Wood Quay marks a site of profound historical importance, where the remains of a significant Viking settlement were discovered. The sculpture serves as a potent reminder of Dublin's rich Viking heritage. Its ship-like form suggests the arrival of the Norse people and the profound impact they had on shaping the city.
Moreover, the use of wood as a material might allude to the original quay's construction, which would have likely used timber. The organic nature of wood, though a durable material, can also speak to the passage of time and the layers of history that exist beneath the modern city.
The Artwork's Impact
The "Wood Quay" sculpture has become a landmark in Dublin and a starting point for many visitors interested in Dublin's Viking past. The bold and abstract nature of the artwork invites contemplation and provides a visual focal point in an otherwise predominantly urban environment.
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