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.