THE FISHERMEN MURAL
THE FISHERMEN MURAL BY FINTAN McGEE [ON ROCHES STREET LIMERICK JULY 2017]
Back in the summer of 2017, I wandered the streets of Limerick City, camera in hand, captivated by the explosion of colour that had taken over its walls. Limerick's street art scene was thriving, and I was determined to document it. At the time, identifying the artists and their works proved a bit of a puzzle, but through some online sleuthing, I've since been able to map out seventeen incredible murals.
One that particularly stands out is Fintan Magee's "The Fishermen" on Roches Street. This piece, with its ethereal figures seemingly intertwined with the flowing water, perfectly captures Magee's signature style. He's an Australian artist with strong Irish roots, and his work often explores themes of human connection, nature, and the ephemeral.
Magee's murals have a dreamlike quality, drawing you in with their flowing lines and muted colours. In "The Fishermen," the figures almost appear to be sculpted from water, their forms echoing classical art while remaining distinctly modern. It's a beautiful reminder of the interconnectedness between humanity and the natural world.
But this mural is more than just a beautiful artwork. It's also a tribute to a unique part of Limerick's heritage: the Abbey Fishermen. These fishing families, with names like Clancy, MacNamara, Hayes, and Shanny, lived and worked along the Shannon for centuries, their lives intertwined with the river's rhythms.
They fished the waters in their traditional "brochauns" – specialised boats that have been used on the Shannon since at least the 16th century. Their fishing rights and practices, passed down through generations, were deeply connected to the history of the Abbey area and even linked to ancient Irish law.
Sadly, much of the Abbey Fishermen's way of life has faded with time. Many of their homes have been demolished, and their fishing traditions have diminished. But Fintan Magee's mural keeps their memory alive, reminding us of the people who shaped Limerick's relationship with the Shannon.
While exploring Roches Street, keep an eye out for these notable buildings:
22 Roches Street: This building, now home to Hackett's printing company, has a fascinating past as a 19th-century corn store. Its architecture reflects the street's history as a centre of commerce and industry.
31 Roches Street: This striking red brick building dates back to the mid-19th century and is a well-preserved example of Victorian commercial architecture. It has housed a variety of shops throughout its history, most recently McMahon's Cycle World. Though currently unoccupied, its ornate shopfront and original features offer a glimpse into Limerick's commercial past.
Magee's "The Fishermen" is just one of many incredible murals that have transformed Limerick's urban landscape. If you're ever in the city, be sure to take a stroll and discover these hidden gems for yourself. You won't be disappointed!
A Few Facts about Fintan Magee:
He's gained international recognition for his large-scale murals, which can be found in cities all over the world.
His artistic influences range from classical masters like Caravaggio to contemporary street artists.
He often incorporates elements of nature into his work, creating a sense of harmony between humans and their environment.
CLONTARF BOAT SLIPWAY
CLONTARF PIER AND SLIPWAY [NEAR THE CLONTARF YACHT CLUB]
Clontarf Boat Slipway, which is a popular spot for launching small boats and kayaks, and also for swimming! It's located right by the Clontarf Yacht & Boat Club.
History: It's been around for a long time, dating back to 1875 when the Clontarf Yacht and Boat Club was founded. So it has quite a bit of history itself, just like the Baths!
Recent Popularity: It's seen a surge in popularity for sea swimming, especially since the Covid pandemic when boating activities were reduced.
Parking Issues: There have been some issues with illegal parking around the slipway, with people blocking access for those launching boats. Dublin City Council has installed bollards to try and manage this.
Accessibility: While the bollards have helped with parking, some kayakers have found it harder to access the slipway with their equipment. This has caused a bit of debate locally.
CLONTARF BATHS
CLONTARF BATHS AND ASSEMBLY ROOMS CONSTRUCTION PHASE [2017 LEGACY PHOTO COLLECTION]
The Clontarf Baths have a long and interesting history. Built in 1864, they were originally known as the Clontarf Baths and Assembly Rooms. They were popular with locals and visitors alike, and were used for swimming, water polo, and other aquatic activities.
The baths were closed in 1996 and fell into disrepair. In 2017, a €10 million redevelopment project began to restore the baths to their former glory. The project was completed in 2018, and the baths reopened to the public.
However, the baths have not been open to the general public since then. They are currently used by members of local swimming clubs and camps.
Here is some additional information about the Clontarf Baths:
They are located on Clontarf Road, in the Clontarf area of Dublin.
They are open from Monday to Friday, from 6:00 PM to 8:00 PM.
They are closed on weekends and public holidays.
Admission is free for members of local swimming clubs and camps.
For non-members, admission is €5.
There has been quite a bit of local reaction to the Clontarf Baths not being open to the public. It's been a source of frustration and disappointment for many residents. Here's a summary of the situation:
Expectation vs. Reality: When the redevelopment was announced and underway, locals were under the impression that the restored baths would be a public amenity, accessible to everyone. This expectation was fuelled by the fact that public money was used in the redevelopment. However, the reality turned out to be quite different, with access restricted to members of swimming clubs and private groups.
"Sink or Swim" Article: This controversy was well documented in an article in The Journal, titled "Sink or Swim: Inside the battle over access to the historic Clontarf Baths". It highlighted the anger and disappointment felt by many locals.
Council Involvement: Dublin City Council has been involved, putting pressure on the baths' operators to allow public access. They even launched an investigation to ensure the baths were operating in line with planning permissions.
Limited Public Access: In response to the pressure, the baths have occasionally offered limited public sessions, but these are infrequent and not a substitute for regular public access.
Ongoing Debate: The debate continues, with residents and local representatives pushing for a solution that allows the wider community to enjoy this historic facility.
In essence, many locals feel that the Clontarf Baths have become an exclusive club rather than the public amenity they were promised and expected. The situation highlights the tension between private investment and public good, especially when public funds are involved.
VICTORIAN TRANSFORMER
A FREESTANDING FINIAL-TOPPED CAST-IRON TRANSFORMER [DATING FROM 1900 AND LOCATED AT CONQUER HILL ROAD NEAR CLONTARF BUS GARAGE]
I delayed publishing this series of photographs as I could not determine what this structure actually was.
A Spark from the Past: Uncovering the Story of a Clontarf Transformer
Standing sentinel near the Clontarf Bus Garage on Conquer Hill Road is a piece of Dublin's history that often goes unnoticed. It's a cast-iron transformer, dating back to 1900, a relic from the days when electric trams were a novelty. This unassuming piece of street furniture holds within its intricate castings a tale of innovation, civic pride, and a link to one of Ireland's most famous battles.
The transformer was installed by the Dublin United Tramways Company (DUTC) as part of the electrification of the tram line running from Dollymount to Nelson's Pillar. On 19th March 1899, horses were retired, and the sleek new electric trams took over, marking a significant leap forward in Dublin's public transport.
What makes this particular transformer so interesting is the detail on its casing. Proudly displayed are the Dublin City arms and the city's motto, "Obedientia Civium Urbis Felicitas" – "The obedience of the citizens makes the city happy". This was a common practice at the time, reflecting the city's investment in this new technology and fostering a sense of civic ownership.
However, there's a curious omission: the name of the foundry responsible for casting this piece of industrial art. While similar transformers in England often bear the name of "The British Electric Transformer Company", this one remains silent on its origins. Perhaps it was the work of a smaller, local foundry, or maybe the nameplate has simply been lost to time.
But the story doesn't end there. Conquer Hill Road itself holds a fascinating connection to Ireland's past. The name harks back to the epic Battle of Clontarf in 1014 AD, where Brian Boru's forces clashed with Viking and Leinster armies. While the exact location of the battle is still debated, Conquer Hill Road lies within the broader battlefield area. It's possible that the hill offered a strategic advantage during the fighting or was the site of a key skirmish.
This unassuming transformer, standing on a road named for a centuries-old battle, serves as a tangible link between Dublin's past and present. It's a reminder that history is all around us, woven into the fabric of our everyday lives. So next time you find yourself in Clontarf, take a moment to appreciate this silent witness to the city's evolution, and let your imagination transport you back to a time of horse-drawn trams and epic battles.
CLONTARF PUMPING STATION
THE 2004 PUMPING STATION IN CLONTARF [A RATHER INTERESTING BUILDING]
Pumping Station in Clontarf, Dublin, built in 2004! It's a rather interesting building.
Not just a pumping station: This building, located at the junction of Vernon Avenue and Clontarf Road, actually houses three things:
The pumping station itself
A maintenance depot for Dublin City Council Parks Department
An ESB substation
Unique design: The building has a distinctive modern design. It's a single, angular structure that "rotates" across the site to maximise light and create interesting relationships with its surroundings (the road, the village, the sea wall, and even the docklands across the estuary).
Architects: It was designed by de Paor Architects.
Purposeful design: Each façade of the building serves a different function (pumping station, park depot, or electrical substation). Despite this separation, the interior is linked by a shared space for natural ventilation, which also cleverly incorporates toilet/shower facilities and a water tank.
Part of a larger plan: The pumping station was part of a broader initiative by Dublin City Council and the Royal Institute of the Architects of Ireland to improve and enhance the village centre of Clontarf.
RETRO WIND SHELTERS
RETRO WIND SHELTERS AND OTHER STRUCTURES IN CLONTARF [DESIGNED IN 1934 BY HERBERT SIMMS]
Herbert Simms and his Impact on Dublin's Built Environment
Herbert George Simms (1898-1948) was a prominent Irish architect who left an indelible mark on Dublin's urban landscape. Appointed as Dublin Corporation's first dedicated Housing Architect in 1932, he spearheaded a massive public housing programme during a period of significant social and economic challenges. His work, characterised by a blend of functionality and aesthetics, addressed the urgent need for improved housing conditions while also contributing to the city's architectural identity.
Simms's tenure coincided with a period of intense slum clearance and urban renewal in Dublin. He oversaw the construction of an impressive 17,000 new homes, responding to the dire living conditions of the working class. His approach was comprehensive, encompassing not just the design of individual buildings but also the wider urban planning context. He was committed to providing high-quality housing that was both affordable and aesthetically pleasing.
One of Simms's notable projects was the design and construction of a series of distinctive wind shelters along the Clontarf seafront in 1934. These shelters, with their elegant curves and Art Deco influences, serve as a testament to his design philosophy. They not only provide practical protection from the elements but also enhance the visual appeal of the promenade, contributing to a sense of place and identity.
These shelters, along with other structures like the bandstand and toilets, were part of a broader effort to improve public amenities and promote outdoor recreation. Their construction reflected a growing awareness of the importance of public spaces and the need for accessible leisure facilities for all.
Simms's architectural legacy extends beyond Clontarf. His work can be seen in various housing projects across Dublin, including the iconic Oliver Bond flats and Pearse House. These buildings, with their distinctive brickwork and carefully considered layouts, continue to provide much-needed housing while also serving as reminders of Simms's contribution to the city.
Simms's impact on Dublin's built environment lies not just in the quantity of housing he delivered but also in the quality of his designs. He demonstrated that public housing could be both functional and beautiful, enhancing the lives of residents and contributing to the city's architectural heritage. His work continues to inspire and influence architects and urban planners today, serving as a reminder of the power of design to improve lives and shape communities.
ST JOHN THE BAPTIST
ST JOHN THE BAPTIST CATHOLIC CHURCH [CLONTARF ROAD AND CHURCH GATE AVENUE]
St John the Baptist Church on Clontarf Road is a Catholic church with a rich history dating back to the 19th century.
History & Architecture
Early Years: The church was designed by renowned Dublin ecclesiastical architect Patrick Byrne. The foundation stone was laid in 1835, and it opened in 1838, though it wasn't fully completed until 1842.
Growth and Expansion: The church underwent significant expansion in 1895, thanks to the generosity of Mr Owison Allingham. He funded a 17-foot extension, a new high altar, pulpit, altar rails, sacristy, and bell tower. His sister, Miss Allingham, decorated the church's interior.
Parish Priests: Several notable parish priests have served St John the Baptist, including Fr Callanan (died 1846), Rev Cornelius Rooney (1846-1878), and Fr Patrick O'Neill (1879-1909). Fr Edward McCabe, a curate under Fr Callanan, went on to become Cardinal Archbishop of Dublin.
Parish Changes: The parish boundaries have shifted over time. Initially, Clontarf was part of a union of eight parishes. In 1879, this was split, with Clontarf then including Killester, Coolock, and Raheny. In 1909, Clontarf became a separate parish. With the growing population, chapels-of-ease were opened: St Anthony's in 1927 and St Gabriel's in 1956. These became independent parishes in 1966 but were reunited with St John the Baptist in 2009.
Holy Faith Sisters: In 1890, the Sisters of Holy Faith established a convent and schools for girls and junior boys in Clontarf at the invitation of Fr O'Neill.
ST ANTHONY'S CHURCH
Many are familiar with Saint Anthony’s Church on Clontarf Road, but fewer realise that the current parish church is actually situated behind an older building, a structure that once served as the town hall.
St Anthony's parish, Clontarf, was formed in 1966 when it separated from the historic Parish of Clontarf. The parish, located in the Fingal South East deanery of the Roman Catholic Archdiocese of Dublin, is served by a Church of St Anthony of Padua, built in 1975.
This modern church succeeded an older building of the same name which initially served as a chapel-of-ease. This older church, a protected structure, had previously been the Town Hall for Clontarf during the brief period when the district was incorporated as a town under the control of local Commissioners.
The parish encompasses the part of Clontarf from the junction of Howth Road with Clontarf Road, extending south of the Parish of Killester and then dividing the district along the line of Castle Avenue. This area includes the Garda station, a secondary retail area, and localities such as Seafield.
Interestingly, within the parish bounds, there was once a holy well, named for either St. Philip or St. Dennis. Located in the vicinity of The Stiles Road, this well is no longer visible.
St Anthony's Hall: A Building with a Rich History
St Anthony's Hall, previously known as St Anthony's Parish Church (Irish: Eaglais Pharóiste Naomh Antaine) and, before that, Clontarf Town Hall (Irish: Halla an Bhaile Cluain Tarbh), is a former ecclesiastical building and, even earlier, a municipal building on Clontarf Road. Today, it serves as a parish hall for St Anthony's Parish Church.
From Town Hall to Place of Worship
The township of Clontarf appointed town commissioners in 1869 following significant population growth, partly due to the area's popularity as a tourist destination and its development as a residential suburb of Dublin. In the early 1890s, the town commissioners decided to erect a town hall. The site they selected on the north side of Clontarf Road was generously donated by the local landowner, Colonel Edward Vernon, whose seat was at Clontarf Castle.
The new building, designed in the Gothic Revival style by William George Perrott, was constructed in red brick by Robert Farquharson and completed in 1896. The design featured a gabled main frontage facing onto Clontarf Road. The side elevations, each with six bays, were fenestrated by pairs of lancet windows and flanked by buttresses.
In 1899, the town commissioners were replaced by an urban district council, and the building on Clontarf Road briefly served as the meeting place of the new council. However, the town hall ceased to be the local seat of government in 1900 when the urban district was annexed by the City of Dublin.
A Hub of Republican Activity
The Irish republican, Michael McGinn, became caretaker of the town hall in 1901 and also keeper of the town hall library, which was established in the building in 1902. He played a crucial role in facilitating meetings of the supreme council of the Irish Republican Brotherhood at the town hall. It was at one such meeting in January 1916 that the supreme council agreed to a proposal from Seán Mac Diarmada that a rebellion should proceed "at the earliest date possible". At this same meeting, the leader of the Irish Citizen Army, James Connolly, was persuaded to join the rebellion. On 16 April 1916, another republican, Paddy Daly, was questioned in the town hall about his proposal to destroy the Magazine Fort in the Phoenix Park. The Easter Rising went ahead a week later.
The town hall, which had already started showing silent films, reopened after the First World War as a picture theatre in December 1919. After Michael McGinn's death, his wife, Catherine, became caretaker and provided accommodation for republican leaders during the Irish War of Independence.
From Civic Building to Sacred Space
The building was converted into a chapel of ease in 1926. The main frontage facing onto Clontarf Road was refaced in rusticated granite. The new facing featured an arched doorway, dressed with an ashlar granite architrave and enhanced with a carved shield in the tympanum. The entrance was flanked by two small arched windows, and there was a tripartite mullioned window on the first floor.
The building became a parish church in its own right, as St Anthony's Parish Church, in 1966. After a modern Catholic church was built for the parish just to the north in 1975, the original building was converted for use as the parish hall for the area and became known as St Anthony's Hall. The former presbytery at the back of the hall was demolished in 1998.
DUBBER CROSS AND NEARBY
EXPLORING DUBBER CROSS AREA AND NEARBY [THE DAY THAT I GOT LOST]
Charlestown was the homeland area name and much of the land there was owned by Mr. Melvin, the farmer. The locals that I encountered remembered the area well when it was all fields and distinctly rural.
In May 2017 I decided to get a bus at random and see where it brought me. I ended up at a place known as Dubber Cross near Charlestown Shopping Centre which is very close to the runways at Dublin Airport. You may notice landing jets in some of the images.
Charlestown Shopping Centre located in the northern end of Finglas. It opened in October 2007 and has two of the centre opened in October 2015. The second phase included a nine screen Odeon cinema and a Leisureplex which includes a Bowling alley and Quasar. However, I decided to explore the local area and to some extent got lost as my camera did not have GPS and my iPhoned had shutdown. To the best of my knowledge I photographed parts of Charlestown, Meakstown and Dubber Cross.
For those unfamiliar, townlands are ancient divisions of land, often with fascinating histories. Meakstown and Dubber Cross, nestled in northwest Dublin, are no exception. Meakstown sits east of the busy N2, while Dubber Cross lies just west, across the road. Both areas have witnessed significant changes over the years, evolving from rural landscapes to suburban neighbourhoods.
Dubber is in the Civil Parish of Santry, in the Barony of Coolock, in the County of Dublin. During my visit I meet a mother and her children and she told me that she was there to show the children their new house which was at the end of the lane. According to Google Maps the name of the lane is ‘Dubber Cottages’ but when I checked the sales information for Dubber House it was described as being located at the end of ‘Dubber Lane’. If her new house is Dubber House it is impressive.
Historically, Meakstown was known as "Baile Maidheac" in Irish, possibly meaning "Mac's town". Records show the area was once home to a substantial house and demesne lands, hinting at a more affluent past.
I had been lead to believe that Dubber Cross, derived its name from the Irish "Tobar na Croise" (Well of the Cross), a holy well that once existed nearby. However, after further research I believe that this is incorrect as there is a location named Tubber Cross in Ireland and it's a village located on the border of County Clare and County Galway. Tubber Cross is known for its historical connections, including a holy well and St. Michael's Church.
Today, both Meakstown and Dubber Cross are predominantly residential areas. Since my 2017 visit, further development has taken place, with new housing estates and amenities springing up. Despite this modernisation, pockets of green space remain, offering a welcome respite from the urban bustle.
WAVE BY ANGELA CONNER
I have fact-checked the information provided in various accounts and corrected the height of the sculpture, which is 39.3 metres, not 35.3 metres as sometimes reported.
Park West in Dublin is home to a striking piece of public art: Wave, a towering sculpture by renowned English artist Angela Conner FRBS. Standing at a remarkable 39.3 metres (129 feet), it claims the title of Europe's tallest wind and water mobile sculpture.
Crafted from polystyrene coated in layers of carbon resin, Wave's elegant form is anchored to a 7.6 metre (25 foot) deep pit filled with 9.5 tonnes of lead. This ingenious design allows the sculpture to gracefully sway and respond to the wind, creating a captivating spectacle of movement and balance.
Angela Conner, a celebrated sculptor with a global presence, is known for her dynamic works that often incorporate natural elements like wind and water. Her impressive portfolio includes large-scale sculptures displayed in public and private collections worldwide.
Interestingly, the initial inspiration for Wave came from observing saplings in Vermont. Conner was fascinated by their ability to bend and sway in the wind while always returning to their centre, a concept she found both visually and philosophically compelling.
Did you know? At the base of the sculpture, jets of water create a delicate spray that, when caught by the sunlight, produces a shimmering rainbow. This adds another dimension to the artwork, further connecting it to the natural world.
A SCULPTURE BY ORLA DE BRI
THE BASTARD SON OF SISYPHUS [A SCULPTURE BY ORLA DE BRI]
Because of intrusive street furniture and as I had to shoot into the sun this was much more difficult to photograph than I had expected.
This striking sculpture, "The Bastard Son of Sisyphus", by Orla de Brí, is located in Park West, Dublin. It offers a contemporary interpretation of the Greek myth of Sisyphus, condemned to eternally push a boulder uphill only to watch it roll back down. De Brí's work captures the futility of Sisyphus's task, reflecting the often- Sisyphean nature of modern life.
The sculpture features an 8ft high bronze figure, backed by imposing limestone megaliths, standing above a stepped waterfall. He contemplates a 5ft bronze sphere below, symbolising the burden we continually strive to overcome.
Unveiled on 21st October 1999, at the Park West launch day, the sculpture is unfortunately somewhat marred by its surroundings. Intrusive street furniture and the presence of high-tension transmission pylons detract from the artwork's impact. Photographing the piece also proved challenging due to the position of the sun, which created difficult lighting conditions.
Further Information:
To learn more about the artist and her work, please visit www.orladebri.ie.
Photographing into the Sun: Challenges and Solutions
Photographing a subject when the sun is directly behind it presents several challenges:
Silhouettes: The subject is often rendered as a dark silhouette against a bright background.
Lens Flare: Light can scatter within the lens, creating unwanted artefacts and reducing contrast.
Dynamic Range: The difference in brightness between the subject and the background can exceed the camera's capacity to capture detail in both.
Possible Solutions:
Change Position: If possible, reposition yourself to avoid shooting directly into the sun.
Use a Lens Hood: This can help to block some of the extraneous light causing lens flare.
Filters: Graduated neutral density filters or polarising filters can help to balance the exposure.
Exposure Compensation: Dial in positive exposure compensation to brighten the subject.
Shoot in RAW format: This allows for greater flexibility in post-processing to recover detail in highlights and shadows.
POISE BY ANGELA CONNER
POISE IS A SCULPTURE BY ANGELA CONNER [PARK WEST BUSINESS PARK DUBLIN MAY 2017]
I never got around to revisiting Park West Business Par
Evoking a sense of tranquility, 'Poise' is a captivating kinetic sculpture by renowned British artist Angela Conner. Known for her dynamic works that interact with natural elements, Conner has graced public spaces worldwide with her innovative creations. Here, in Park West Business Park, Dublin, 'Poise' features a large white circle, reminiscent of a celestial disc, that gently rotates in the wind. This movement casts ever-shifting shadows on the contrasting Yin and Yang form below, creating a mesmerising interplay of light and dark. Conner, a graduate of the Royal Academy Schools, has been pushing the boundaries of sculpture since the 1960s, with her works often exploring themes of balance, harmony, and the natural world.
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