Archive for the ‘Street Art’ Category

Unceremoniously swiped from the excellent balls.ie this. Someone obviously took inspiration from RTÉ’s recent screening of “Knuckle,” an insight into bare knuckle boxing the Irish travelling community and decided to throw up a dedication to Big Joe Joyce on Leeson Street Bridge.

Update: Apparently it’s been there for months. Ah well, just goes to show you the gems this city is hiding!

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OBEY stickers hit Dublin

OBEY stickers spotted around Temple Bar today. Thanks to Luke F. for sending these snaps on.

(c) LF

(c) LF

(c) LF


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“The delights a stroll around Dublin can bring you. I’ve always carried my camera around with me, but have only recently started to take it out and not give a shite that I look like a tourist.

These lines I used for the start of a similar piece around this time last year. Sometimes in Dublin, as a local, you don’t think to take pictures of the “touristy” things like statues and the like. Then you realise you’re missing out on oppurtunities like the below. And yes, the sky was this blue on Sunday morning amazingly enough!

I must have walked past the below stencil a hundred times on a tiny section of wall not far from Fitzsimons on the Quays. It is so inconspicuous, there is very little chance of seeing it unless you know its there. I still think its great though!

Moore Street wouldn’t be Moore Street without a marauding gang of pigeons. Walking down the Street on a sunny morning with nobody about gives a great sense of the real feeling of the city. Walking around any city at this time of the morning would give the same result I guess.


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Carrigstown Street Art.

My brother was out at RTE earlier today, and while there decided Carrigstown was worth a look. We wouldn’t be passionate folowers of Fair City to say the least, who is, but we still watch it in amazement on occasion. The fake northside suburb on the southside threw up a surprise though, in the form of the street art on set!

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‘We are all clowns now’

The images above come from the page of ‘Canvaz’, Dublin street-artist. You can’t miss these paste-ups walking around the city, and some are in excellent locations, for example what was once ‘Bondi Beach Club’ on the quays, which has sat empty for some time now. If the city is closing up, and being boarded up, in front of your eyes, do something with it I suppose.

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Ah, bless.

Stuck to a few phoneboxes in the city centre, nice work. Photo is via the excellent Dublin Urban Art.

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This is something I’ve wanted to do for a long time, to ask some questions to one of the Dubliners I find most interesting in our city today. On several occasions I’ve mentioned an interest in the likes of Kevin Freeney and the historic sign writing tradition of this city, and in more recent times it’s the street artists of a different kind who have caught our eye.

From the positive message of the ‘They Are Us’ collaboration with Damien Dempsey, which raised money for the homeless of the city, to his recent contributions to major art exhibition Dublin Contemporary, Maser has brightened the walls of the city, always paying tribute to those who inspired him and helping to open doors for the next lot by including the youth of Dublin in a lot of his work.

He’s an all around decent bloke, a good ambassador for the city and handy with a brush. Enjoy the below. The questions, fittingly for the site you’re reading, all deal with the city and how he relates to her and takes inspiration from her.

1) Most Dubliners would probably have first stumbled across your work through ‘They Are Us’. Did that project, and working with Damien Dempsey, change how you saw Dublin at all? Did you see new things around you, for example visiting Mountjoy?

The ‘They Are Us’ project was addressing things I was already aware of. The idea was to possibly educate and show different aspects of Dublin that maybe some people aren’t too aware, for example the historic sign writing trade, the homeless, graffiti art. The funny thing is, I ended up probably learning the most.

An element of it for me was understanding homelessness, it led me to Mountjoy and St.Pat’s prison, where I painted murals, shared lunch and hung out with the inmates for three weeks. That beats any textbook education.

2:) You seem to do a bit of sign writing professionally on occasion. That tradition is sadly dying in Dublin but it used to be very common here. Would you take influence from that old tradition, as well as the medium of street art?

I’d be fully aware of the technique they used and materials.

I use the material most appropriate for the job, so if it’s large scale, like Ballymun, well spray paint is the best option. If I’ve time, or want to spend extra time on pieces I’ll use brushes with gloss. I really enjoy the act of painting, the end piece is just the result.

Maser and Damien Dempsey's Ballymun piece made the front of The Dubliner.

3) The ‘They Are Us’ show included portraits of James Connolly and ‘The Liberator’ O’Connell. Is Dublin’s history something you’re becoming more and more influenced by do you think?

The more I learn the more I realise how much more I want to know.

There is a wealth of history in this city and country that can supply an extensive body of visual work for any artist. There are still a lot of people, places and situations I need to paint and talk about.

4) One of the best things about following your work is the outreach to working class Dublin kids, getting them involved in a lot of your work. How important is all that to you?

It’s just the way it went. By painting a piece, I’m putting it out there for everyone to see. It’s available to all social classes. When painting I’m not doing it for a target audience. Maybe certain locations dictate that because the piece might be in their area.

I do however, get kids involved through workshops, classes when I can. I understand what it’s like for a kid growing up in Dublin. It’s a confusing time, per pressure, being full of energy and not knowing how to release it, sometimes resulting in those kids going down the wrong path. I’ve worked with kids in schools across Dublin, also getting them involved with my own projects, for example the kids from Crumlin who helped me with the set up of the They Are Us exhibition.

[vimeo.com 19968673]

5)Would you see ‘Dublin Contemporary’ as a big leap for yourself? Is it still as much fun to hit up Windmill Lane as a massive exhibition?

I still consider them two different worlds. It’s great to have the opportunity to do both because it adds variety.

Saying that, the indoor would not survive without the outdoor pieces. Outdoor work is the core of what I do, and the the piece interacts with the outdoor space, whether that be the piece getting damaged, fading off the wall, pissing people off or putting a smile on their face as they walk to work.

Nothing beats painting Windmill Lane, it used to be my playground years ago, going down 5 times a week to drop pieces and stay up in the space. They sand blasted the whole lane clean in ’99, that didn’t last long. The piece below is by TML (The Missing Link, Maser’s old crew)

TML piece at Windmill Lane


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Well, this is unfortunate…

(we got word that those who postered the Eelus piece removed the posters, stating it to be a genuine error. As I said below, the real vandalism against this city is the empty NAMA buildings that dot it)

Only a few hours ago we posted a piece about the exciting new NAMA poster campaign around the city, bringing NAMA buildings to the attention of the public.

Sadly, it seems those behind the posters decided to hit up this beautiful EElus piece of street art on South William Street. If you’ve read A Visual Feast, last years excellent book covering Irish street art, you may have seen the interview with the street artist Eelus in it.

Eelus noted that he was approached by a young woman while painting this piece, who told him he’d robbed the idea from a similar piece of street art in the UK. He replied by informing her that was him! The constrast however is that this angel in Dublin, a lost angel, appears a bit vulnerable when compared with her London sister. I often admire her while walking down South William Street, she’s somewhat symbolic of where the city is.

Cheers to Freda, whose photos of street art have appeared on numerous occasions on this site, for drawing my attention to this.

The sentiment of the NAMA poster campaign is admirable. The real vandalism in this city in the state empty buildings fall into, while people lack homes.

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Once In A Lifetime.

Great stuff from Maser, this is painted onto the side of the Dublin Simon Community shop on Camden Street in Dublin 2, and like the prior featured piece from ADW, is a part of the First Fortnight mental health awareness project.

Maser has been bringing good vibes to the city for years now, from the They Are Us collaboration with Damien Dempsey to his projected show on the side of the convention centre, a love letter to the city almost. He also dabbles on occasion in more traditional acts like signwriting. The shopfront writing of Kevin Freeney and the like is a Come Here To Me feature which will have to be done down the line of course, but for now we’re always happy to post the latest from the contemporary artists of the city. Nice one Maser.

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Couldn’t help but smile earlier on when passing Costa Coffee on Dame Street.

Somebody has taken it upon themselves to spray ‘El Barto’ across the front of the place by the bus stop, pretty sizable and something two kids in front of me picked up on and found hilarious. A brave move, which brought all kinds of nostalgic feelings for a time when The Simpsons was half decent.

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Maser/BP Fallon.

Many of you will have no doubt seen Maser’s excellent tribute to BP Fallon on the walls of The Button Factory, part of Dublin Contemporary.

Eoin Murphy has uploaded this great video to Vimeo showing the painting of the mural. Well worth a watch.

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Jars, not people.

Great stuff this from ADW, in support of First Fortnight, Dublin’s arts-based mental health awareness project in its third year. You can check them out online here.

Recently, an ADW piece across the river Liffey on Middle Abbey Street in memory of Gil Scott-Heron featured on the site here and was warmly received, only to vanish almost as quickly as he painted it. Such is life, such is street-art.

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