URBAN CARTOGRAPHER VISITS WATERFORD

One Of My Favourite Cities

Waterford City

INVISIBLE BY TINA O’CONNELL PHOTOGRAPHED AUGUST 2017 – THIS MAY HAVE BEEN REPLACED IN 2024

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PRESENTED BY THE URBAN CARTOGRAPHER

Usually when I photographed this it is/was in poor condition and while it was in reasonable condition there was a lot of debris in the water. In July 2018 it was dry and may have been undergoing maintenance. According to some accounts it has been replaced in 2023 or 2024 – I will confirm if this is true when I visit in August 2025.

In 1999, the artist Tina O’Connell was commissioned to create a new fountain on the same site as a former Victorian-style tiered fountain that had fallen into disrepair. As such, Tina’s contemporary sculpture is also a fully functioning fountain. Following an extended period of research and development into materials, ‘In-Visible’ was finally sited and fully installed in 2002.

‘In-Visible’ (2001) is/was a contemporary sculpture that incorporates a water feature. Inspired by the connection between Waterford City and the world-famous Waterford Glass industry, O’Connell’s work consists of a very large transparent acrylic sphere (2 metres in diameter), over which clear running water continuously flows. It is positioned on a large, circular platform made from black Kilkenny marble. The work is locally known as the ‘Orb Fountain’.

FISHERMAN BY ARCY – I ONLY BECAME AWARE OF THE WATERFORD WALLS EVENT IN 2017

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PRESENTED BY THE URBAN CARTOGRAPHER

In August 2017, I stayed at the Portree Hotel in Waterford and from the front of the building, I could see two murals, one of which was this piece by Arcy. Many of my photographs from that visit were unusable because of the incident discussed below but I had two other lenses so not all images were write-offs. Since then I have always brought at least two cameras and rotate them every four hours.

During my visit, a gentleman I encountered placed his hand on my camera lens and accused me of supporting anti-social behaviour by photographing street art. He used words I cannot repeat here. Unfortunately, at the time, I didn’t realise that his action had badly marked my wide-angle lens. I believe he must have been eating greasy food, as large streaks covered the lens. It took hours to clean, and upon returning to Dublin, I had to take it to my camera dealer. The damage was much worse than I initially thought, as he must have had something sharp in his hand.

The Artist: Arcy (Ryan Christenson)

Ryan Christenson, a Connecticut native, began his artistic journey at a young age. While working in his father’s landscaping business, he discovered graffiti at 14 and was immediately drawn to the creative freedom it offered, moving beyond the constraints of traditional ‘paper and pencil’. His early passion led him to join the High Impact Crew, a graffiti collective based in New Haven, solidifying his roots in this counter-cultural art form. Despite his passion for street art, he pursued a degree in horticulture at Naugatuck Valley Community College.

A pivotal moment in Christenson’s career came in 2012 when he left the family business to found his art and design company, RC Murals. In 2015, he adopted the pseudonym ‘ARCY’, a clever play on his initials, and embarked on an international tour. On this tour, he painted 30 walls across the United States, Europe, and Canada.

Arcy’s signature style is a dynamic fusion of photorealism with the raw energy of graffiti, characterised by expressive ‘paint drips, splatters, overspray, and tagging’. This distinctive technique, developed during his early years tagging, allows him to create works that are both intricately detailed and abstract, demonstrating the full potential of spray paint as a medium.

Christenson’s career is defined by a subtle duality: he is both a travelling large-scale street artist and a savvy businessman. His impressive list of clients includes the Smithsonian Institution, Major League Baseball, and the National Park Service. He also creates pieces for The Walt Disney Company’s Fine Art collection and has a permanent display at the Walt Disney Hometown Museum. This dual career path, navigating the worlds of public street art and commercial fine art, is central to understanding the personal significance of his artistic signature.

The Event: Waterford Walls 2017

The Waterford Walls festival was founded by local teacher Edel Tobin as a direct response to the economic stagnation following the 2008 recession. The goal was to use public art as a catalyst for civic pride and urban renewal. The inaugural festival in 2015 transformed 25 walls, and by 2017, its third year, the event had grown considerably.

The 2017 festival, which took place over several days in August, was a major international showcase. It hosted 40 artists from five continents, including Australia, the Americas, Africa, and Europe. In addition to commissioning new artworks, the festival also offered talks on public space, children’s workshops, and live music, further embedding itself within the city’s cultural fabric.

However, the 2017 festival also faced challenges. Persistent rain was a major issue, leaving some large-scale works unfinished and posing a particular difficulty for artists from drier climates. Despite the rain, the event showcased the power of public art to unite a community, with local businesses providing artists with free storage space and lunch.

The festival’s reception, while overwhelmingly positive, had some nuances. Research from previous years showed that 98 per cent of respondents wanted the project to continue, perceiving that it increased their ‘day to day enjoyment and perception of the city’. This is supported by anecdotal evidence from visitors who said the artwork ‘makes the city come alive’ and is ‘an asset to a city’.

However, there was a tension between artistic freedom and community consensus. Some business owners expressed concerns about a lack of consultation and called for ‘more respect for businesses’. Similarly, a local Councillor criticised a mural as ‘dreary and depressing’ and called for its removal, arguing that ‘any artwork has to be carried out with the sensitivity of the surrounding areas in mind’.

This dynamic illustrates a critical aspect of public art: while it can be a powerful tool for renewal, its content and permanence remain subjects of community debate. The organisers’ response—acknowledging that ‘street art is a transient art form’ but also highlighting that ‘almost all of the murals painted have been well-received’—shows a careful navigation of this public role. This approach demonstrates a commitment to the ephemeral nature of the art form while also building a lasting, community-supported legacy.

INVISIBLE BY TINA O’CONNELL PHOTOGRAPHED 2018 – A WATER FEATURE WITHOUT WATER

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PHOTOGRAPHS PUBLISHED 8 AUGUST 2025

This was the first time I saw the underlying structure of the sculpture and I was surprised, as I had previously believed the sphere moved or floated. Furthermore, there was no sign of the “circular platform made from black Kilkenny marble” mentioned in official descriptions.

I have noticed a recurring issue throughout the island of Ireland: water features are rarely properly maintained and eventually cease to be operational.

Sadly, when I photographed this piece a year later, it was in a very poor condition, with hardly any water and a considerable amount of litter and branches in the pool area. To be fair, however, in 2017 more recently it was in excellent condition, and the water in the ball was clear.

In 1999, the artist Tina O’Connell was commissioned to create a new fountain on the same site as a former Victorian-style tiered fountain that had fallen into disrepair. As such, Tina’s contemporary sculpture is also a fully functioning fountain. Following an extended period of research and development into materials, ‘In-Visible’ was finally sited and fully installed in 2002.

‘In-Visible’ (2001) is a contemporary sculpture that incorporates a water feature. Inspired by the connection between Waterford City and the world-famous Waterford Glass industry, O’Connell’s work consists of a very large transparent acrylic sphere (2 metres in diameter), over which clear running water continuously flows. It is positioned on a large, circular platform made from black Kilkenny marble. The work is locally known as the ‘Orb Fountain’.

The issue of water features being more often dry than not in Ireland is a complex one, likely stemming from a combination of factors. A primary reason is often a lack of funding for consistent maintenance. Public art and civic amenities often fall victim to budget cuts, and the upkeep of water pumps, plumbing, and filtration systems requires regular financial outlay and dedicated personnel. Furthermore, issues such as vandalism, blockages from litter and natural debris (as noted in my own experience), and technical faults can quickly render a feature inoperable. Without a swift and consistent maintenance schedule, these problems accumulate, and the water feature is left to deteriorate.

Given the pressing concerns of global warming, one might argue that it makes more sense than ever to have these water features operational, especially in a country like Ireland where water is generally readily available. The sight and sound of running water can have a cooling and calming effect on urban environments, offering a psychological respite from rising temperatures. They can also serve as a source of habitat for urban wildlife and contribute to a sense of place and civic pride. While the operational costs and potential for water wastage are valid considerations, modern fountains often use closed-loop systems that recycle the water, minimising consumption. Therefore, a commitment to proper maintenance and an acknowledgement of the environmental and social benefits would seem a sensible approach to ensure that these public artworks continue to serve their intended purpose.

EXAMPLES OF STREET ART IN WATERFORD PHOTOGRAPHED JULY 2018

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PHOTOGRAPHED BY INFOMATIQUE

Having learned about Waterford Walls, I began visiting the city annually. I usually try to visit in August or September to photograph the most recent murals. This year, my trip is planned for August, a week or two earlier than I’d ideally like, but I was constrained by hotel availability.

I’m currently remastering my back catalogue, which has put me in a position to publish photographs I was previously unable to process due to a lack of time or storage capacity. I think my first time photographing Waterford was in 2016, but I was unaware of the street art at the time. Today I’m publishing these photos in bulk, but I plan to identify the artists and the background to each example at a later date.

Waterford Walls, recognised as Ireland’s largest street art festival, was established in 2015 as a direct response to the economic crisis that left the city with “forlorn buildings and facades.” A small, dedicated group of volunteers took on the ambitious challenge of using street art to “enhance and regenerate” these spaces and inject new life into the city.

The festival’s enduring mission is to transform urban areas, inspire communities, and foster connection through art. By “bring[ing] joy, colour and life back into the city,” it has successfully transformed Waterford into “Ireland’s largest and most accessible outdoor gallery.” The festival’s strategic use of street art as a catalyst for socio-economic recovery highlights that it was not merely an artistic endeavour but a deliberate intervention for urban renewal. By aiming to “reinstate civic pride,” the organisers recognised the social and economic benefits of public art. This positions street art as a powerful and accessible tool for community healing and economic revitalisation, demonstrating its capacity to drive recovery beyond traditional economic measures.

THE 1916 MEMORIAL LOCATED ON PARNELL STREET IN WATERFORD

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PHOTOGRAPHED AUGUST 2021

The 1916 memorial in Waterford is not located on Parnell Street, but rather on The Mall, in front of the Bishop’s Palace. It was created to commemorate the centenary of the 1916 Easter Rising.

The memorial is a striking piece of public art that features a cantilevered stainless steel structure. The centerpiece is a bronze replica of the 1916 Proclamation. Notably, the bronze casting faithfully reproduces the original document’s unique typesetting, including variations in typefaces, which reflects the conditions under which the revolutionary printers worked.

The memorial was a collaborative effort between the architect Rupert Maddock and artists Liam Rafferty and Eithne Ring

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