The Writings on The Wall

“Ah here, it’s too small of a country, we’re all drunks and the weather’s a load of bollocks.” Us Irish – we love making excuses. And as stereotypical as the above may sound, it’s entirely true. We are a nation of moaners. We vent, we give out, we whinge. Anything that happens, no matter how big or small the issue may be, you’re bound to hear every Mary, John and Seamus crying down the phone about it to Joe Duffy during the morning commute. Along with alcoholism, moaning is in our blood. But over the last few years, we’ve discovered a new way to vent our frustrations (mainly about our country’s fall from grace) : through street art. Whether it’s an inspiring quote on the run-down flats of Ballymun, or a comedic stencil down a quiet lane; Dublin is now awash with talented artists brightening up our increasingly depressed and drab state.


Thankfully, gone are the oul “Dano woz ere” or the “Stacey 4 Johno” tags, carelessly scribbled across every sign, wall or toilet cubicle. We’ve moved on. Now, more and more beautiful artworks, some even bordering on fine art thanks to Conor Harrington are appearing, but more importantly, staying. The days of County Councils frantically trying to cover up each new piece as it appeared are long gone and it’s no longer seen as an act of mindless vandalism. The only covering up that’s done these days is by the hoards of other artists, hell-bent on getting their name out there.


Maser, Will St. Leger, ADW, Canvaz – only a few names of the many street artists and graffiti writers brightening up our city. Taking off in the mid 90’s, street art is still in it’s infancy on our little isle. Graffiti writer Maser says, “I started painting when I was 15, writing my names on walls when drinking and smoking joints down the lane with the boys. There wasn’t much of a street art scene back then, but the graffiti scene was kicking when I started in 95/96.” So, it’s a surprise that Irish artists have already developed a distinguishable style of their own – wit. Lauren Teeling, the author of the street art book, A Visual Feast, says, “Pieces such as ADW’s leprechaun turning his pockets inside out or Will St. Leger’s Famine and Byrne, are good examples of a distinctly Irish humour being utilised to tackle distinctly Irish issues.” And she’s right. ADW is no stranger to pushing the boundaries and has repeatedly targeted our “lovely” government figures. From his controversial “Picture of Health” piece, depicting the ever-so-slightly overweight Minister for Health; Mary Harney naked on a chaise lounge, to a stenciled piece of Taoiseach Brian Cowen and Minister for Finance Brian Lenihan as “The Blues Brothers”, the artist is certainly making an impact. Alongside the elusive figure taking a stand, is activist and visual artist, Will St. Leger. A fan of good old shock tactics, Leger recently posted an eviction notice on the gates of The Dáil, signed by The Republic of Ireland and citing reasons for eviction as; “breach of trust, economic treason, falsifying expenses forms, colluding with developers, bailing out corrupt banks and damaging the reputation of the Republic of Ireland.” Harsh, but true.


And it’s not just the art world that’s getting in on the act. Noone Casey, an accountancy and actuary firm based in Temple Bar, recently donated a door of their office to The Twelve Doors project. Anthony Casey of the company says, “Facing into the relentless negativity of recessionary depression, we were inspired by the artivism of the Irish street art community to make our space more intriguing.” In short, it involves twelve artists who are given free rein of the door to create whatever masterpiece they want, which would stay there for a month until it was time for the next artist to reside over it. The project has produced some visually stunning pieces, from motivational works to satirical figures.
But long before any of Ireland’s artists were mixing paints or carving stencils, we had the infamous muralists of Northern Ireland. Depicting the turbulent history and the political views of both traditions, these Loyalist and Republican murals are found in nearly every part of the country. In a place of great upset and tension, these pieces can be extremely intimidating but also eerily breathtaking. Synonymous to the country’s history, they have become a tourist attraction to those willing to venture to these troubled areas. In the Summer of 2010, The International Meeting of Styles; a global network of graffiti artists, travelled to the historical Shankill district of West Belfast to paint the mile long Peace Wall. Enlisting the help of the local youths, this famous wall went from a looming grey reminder of The Troubles, to a colourful and uplifting work of art that is a testament to the ever-increasing levels of understanding and compromise of The North’s residents.


Not only is street art having positive effects in Northern Ireland, a recent collaboration between the artist Maser and the singer Damien Dempsey involving youths has garnered an amazing response. They Are Us, is a tribute to Dublin, a tribute to the city: Northside and Southside, the visible and the secret, the good and the bad. With the the words of Dempsey and the art of Maser, the pair travelled the city painting words of inspiration across lanes, tower blocks and buildings. “Get out into that day and make up your own play”, “In a world full of shame and regret, do something to be proud of” and “Your backstreets are my pride and joy”, are only a few of the motivational messages that the duo have created. Working with young prisoners of Mountjoy Prison, they transformed the barren concrete walls of the compound with contrasting words of inspiration. With the proceeds of the 1000 prints sold going straight to The Simon Community, the project has been an absolute success.
Recalling the many positive effects that street art has, Lauren Teeling says, “It’s a very powerful medium in which to express a thought or to highlight an issue, as it has the potential to be seen by such a large amount of people. It offers the public a different way in which to engage with a subject. As street artist Will St. Leger has commented, you can spend hours on a street corner handing out leaflets in an effort to communicate or educate the public on an issue, but put it up on the wall and they will interact with it in a very different way.” Although as captivating as putting it up on a wall may be, there is a slight problem . Get caught, and you’re in deep shit. The government may be keen on letting these pieces live on, but unfortunately, it’s still illegal. But thanks to an innovative British artist, Paul “Moose” Curtis, today’s artists now have a new and legal form of expression – reverse graffiti. Also known as clean tagging, it involves scraping or washing away layers of dirt and grime that have festered for years on the city’s walls and streets. Becoming a favourite of companies as an urban means of advertising, Irish artist Baz Carolan who recently created a series of reverse graffiti advertisements for indie band, The Curtain Thieves, says, “It’s a perfect way to advertise as it’s quick, cheap and nobody is going to bother me about doing it. People have embraced the idea rather than shunning it completely.”


Choosing to stay anonymous, these mysterious artists have their own views on whether or not graffiti and street art are the same forms of art. Canvaz, a Dublin-based street artist says, “People see graffiti and street art as different things, which isn't true. Itʼs just paint on the wall – different angles on the same buzz.” On the other hand, Maser views things slightly different. “I’m a graffiti writer, but I guess over the last few years I’ve become a street artist of sorts. I fucking hate street artists, their intentions aren’t true, they chase fame, and jealousy is rampant in the street art scene. They all follow the beaten track of Bansky. I steer clear.”


Street art, graffiti, potayto, potahto; either way, both mediums are a form of urban art there to elicit a smile from a passerby, evoke discussion and controversy or simply just to make a building more beautiful. One thing is for certain, these lone-wolf type artists are extremely private beings, happy to roam the streets at night creating their masterpieces. More comfortable with a spray-can in hand than anything, they’re not looking to appeal to audiences. As Canvaz says, “ I just do my thing and if anyone likes it thatʼs cool. A lot of the time they just see the image not my name and I kinda like it that way. I get embarrassed when I look at the book I'm in or the internet stuff. Even this interview is quite weird. I’m just a painter.”


Just a painter he may be, but his artwork along with the rest of Ireland’s talented bunch, is putting a smile on the nation’s depressed faces. Well, most of the nation’s. Somehow, I can’t imagine Harney being too pleased with her “beautiful” portrait.

Sheer Brilliance

Swathed in billowing chiffon, Tisci’s latest masterpiece was a collection of perfect tailoring and romantic ruffles.

Storming down the geometrical runway to the harsh sound of American pysco-goth band Salem, the models were an army of androgynous beauties. The understated set and white backdrop meant all eyes were on Riccardo Tisci’s latest stunning collection for Givenchy. They say less is more, and with no McQueen-like theatrics, it meant there was nothing distracting the star-studded crowd from this powerful collection.

Occupying the front row were a select few of Hollywood’s finest. Fresh from the success of his latest role in the box-office smash; The Social Network, was singer turned actor Justin Timberlake. Also spotted at the show were DJ Leigh Lezark, actress Liv Tyler and rock royalty Ronnie Wood and Courtney Love. Tisci’s former assistant and transgendered model, Lea T was one of the many models walking in the Parisian show alongside Jamie Bochert, Natasha Poly and Lily Aldrige’s younger sister, Ruby.

Sticking to his inherent gothic origins, Tisci’s collection was every inch the rock-chick’s dream, with leather waistcoats and metal buttons spelling out the sign of the cross. Using a completely monochrome palette, a much needed injection of colour was introduced in the form of this season’s favourite, leopard print. From a rather discreet graphic on tailored blazers, to the dramatically patterned evening gowns, the fierce cats of the Savanna were out on the prowl in Paris. With his innate talent for tailoring clearly evident, the contrast between structured pieces and floaty fabrics was striking. Sheer chiffon was draped over bootcut trousers and tight miniskirts, trailing behind like a beautiful train. Waistcoats were worn over jackets and as a punky decorative feature, silver zips snaked over every seam possible. One of the many stand-out pieces was a leopard print waistcoat with black panelling, worn over an oversized white blazer. Cut out vests, billowing capes and leather bomber jackets tied in with the Gothic feel of this collection.

Suddenly switching from the expected dark style, his softer side came through with romantic leather ruffles and tulle creeping up the necks of tops that were held together by only bondage-style leather harnesses at the back, while a soft blush pink was introduced; the only splash of colour aside from the graphic leopard prints.

Channelling Mia Farrow in Rosemary’s Baby, shiny cropped wigs and Heidi-style bunches loosely braided at the end provided a vivid contrast of masculine and feminine styles. Flawless nude make-up was accentuated with rich burgundy lips, while eyes were kept to a bare minimum. No outlandish hairstyles, no over the top features; just an understated simple look synonymous with the Givenchy brand. Accessories were scarce in this minimal collection, with only a few shoulder-strap handbags and thin leather belts completing the looks.

With his unique and captivating designs, a dramatic affair was always going to be expected and Riccardo certainly lived up to all expectations. The streamlined looks and wearable pieces make for a perfect collection which is sure to be a massive hit, only cementing him further in the industry as the true creative genius that he is.

Lacey Ladies

With an air of elegant etherealness that's unmatched in any other material and a renewed sense of family values, designers have breathed new life into the traditional white lace for Spring 2011.

Swanning down the aisle in her heavenly lace dress, most brides on their big day embody the innocence and beauty associated with white lace. From as early as the 12th century, lace has been used in all forms amongst hierarchy and royalty; a delicate fabric steeped in history. From beautiful brides to Italian Bella Donna’s in traditional Sicilian lace, this gentle fabric evokes an air of romance and purity whenever it’s worn. It’s no surprise then that Italian duo, Dolce & Gabanna have embraced their Mediterranean heritage for their 25th anniversary this season, with an almost all-white collection shrouded in beaded lace. Citing a ‘hope-chest’ – a collection of items a newlywed bride would pack for her new chapter in life as one of their inspirations, their stunning collection was a breath of fresh air after their heavily-ornate and dark Winter collection. Lace was everywhere: sexy twin-sets, angelic baby-doll dresses, lace and chiffon shifts, floor-skimming dresses and drawstring milkmaid tops were all covered in the timeless fabric. Dolce & Gabanna weren’t the only designers to embrace this angelic trend. Australian-based Collette Dinnigan created tiered dresses and high-waisted shorts, while Alberta Feretti sent an array of pieces down the runway, like her lace smock with crochet insert. Introducing lace into accessories was Italian shoe-designer, Cesare Paciotti. Covering the soles of his latest shoe-collection in a fine lace pattern, Paciotti has created another signature sole, rivaling Christian Louboutin’s synonymous pillar-box red trademark. Wah nails; the nail-art company currently painting the nails of celebrities and fashionistas alike, are one of the many nail-art specialists that use lace to create those miniature masterpieces; meticulously painting over the fine fabric.

Not only reserved for the fashion industry, lace has seeped into other creative fields. Spanning from the success of the 2009 novel, The Lace Reader by Brunonia Barry, Universal pictures have bought the rights to the haunting tale and plans for a movie are already in production. Set in Salem, Massachusetts and centered around a woman who can foretell the future from reading a piece of lace, this compelling story highlights the true age-old tradition of lace-reading. The Powerhouse Museum in Sydney Australia is currently the host of the International Lace Award. With participating artists from all around the world, a major exhibition of over 135 designs will be staged next July. The museum’s curator, Lindie Ward says, “The exhibition in 2011 will showcase works ranging from delicate filigree jewelry to grand steel designs. Textiles and metal will feature prominently, along with a great variety of extraordinary materials that promise a visual feast of contemporary lace works.”

Associated with an age when everything was less mass-produced and life was more relaxed, it’s no wonder that in this current economic situation, people are turning to traditional values as a form of escapism. Lace has been central to families for decades, from lace curtains in your Grandmother’s home, to the table runner in the dining room; it’s a classic material that never dates. But as far away as possible from your Granny’s net-curtains is pop genius, Lady Gaga. Rocking lace since she exploded onto the scene in 2008, she’s draped herself in everything, from lace masks to body-stockings to giant headpieces. Being one of the most influential artists in the industry today, anything she wears will instantly become a massive trend, even influencing some of the world’s top designers.

So what is it about lace that enthralls us and makes it still so popular after all these years? Mary O’Neill of Irish Carrickmacross Lace says, “ For me, the lace I make is extremely delicate and charming. It’s such a beautiful craft which produces an amazing fabric that enhances garments. It’s breathtaking beauty is timeless.”

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Interview with CODES

From paleontology to pottery, Ireland's latest musical exports are a talented bunch...

With blood pouring from her face, a girl stumbles into the surging crowd at a Christmas light’s fundraiser in a dingy pub in Ireland. Yes, that’s right. A fundraiser for Christmas lights. Surrounded by hundreds in fancy dress, neither the band on stage or the sweaty crowd took a second glance at the screaming girl. But she wasn’t reenacting the final scene from Carrie like the band thought, she had slipped, glassed herself and blended in with the rest of Freddy Krueger’s victims. “Nobody knew if she was for real or fake”, laughs singer Daragh.

Fast forward two years, and CODES have graduated from playing to the meager and slightly bloody crowds of the dilapidated pubs of Meath, to the 11,000 strong crowds of The O2 in the capital. The four-piece, who formed in 2007 have had a pretty quick rise in popularity. Within the space of a few months, the indie-electronic group had two singles in The Irish Top 40, played a set at Oxegen and were asked to support Keane on the Irish leg of their “Perfect Symmetry” tour. Recalling their first experience of performing in front of thousands of people, piano-playing Ray says they, “took to it like a fish to water.” Presuming he meant to say duck to water, bassist Eoin was quick to correct him. “Eh no, I’m on about those aquatic lake fish,” Ray retorts. And so, we swiftly move on.

The guys who comprise CODES are as follows. Daragh – the songwriting lead who’s faux-falsetto chords are reminiscent of a certain Matt Bellamy, Eoin – the baby-faced funny-man in charge of the bass, Paul – the straight-faced drummer who is either the silent brooding type, or just severely hungover on the day I met him and Ray – the Hanson-loving pianist with a slight obsessive tendency towards The Saturdays.“We met them once. We met their entourage keeping us away.” Smooth, guys. With Ray hailing from the barren lands of Sligo and Eoin and Daragh from South Dublin, they are the self-proclaimed Indie Westlife, “they’ve got ones from Dublin and ones from Sligo.”

After signing a record deal with E.M.I records in May 2009 which the lads just about remember, “I don’t recall getting home that night”, laughed Ray, they were desperate not to let their new bosses see that when it came to a spot of drinking, they where Irish through and through. “We didn’t want them to see us really drunk on the first day, although we wanted to set a benchmark. Unfortunately, they failed miserably. “At least we’re told we went out that night!”, says Daragh.

Their debut album, Trees Dream in Algebra is a Winter-inspired collection of thirteen tracks recorded with Manic Street Preacher’s producer Greg Haver. Perched on the top of a snow-covered mountain, their album cover ties in with the minimalist music created by the quartet. Was it taken in Scandinavia? No. Greenland? No. Antarctica? No. “It’s in the Wicklow Mountains actually.” Well, that’s not very rock-star like. “The budget wouldn’t allow. We’re not 30 Seconds To Mars,” laughs Daragh.

Getting stuck in a lift with Vinnie Jones, eating breakfast with their idols The Yeah Yeah Yeah’s and insulting the bloke with the sunglasses from The Ting Tings, are only a few of the band’s Oxegen tales. “It was the guy from The Ting Tings who said he always wore his sunglasses because of a dodgy eye. I was talking about them and they were sitting right behind me,” says a red-faced Eoin. Insults aside, this year will be the third time the band will play at Ireland’s largest music festival as well as fourteen other festivals – and that’s just the Irish ones. “It’s a busy Summer for us. It’s good to be busy though. That’s what we always wanted to do, we just wanted to play every festival there is because we were all festival goers when we were younger.” Surrounded by huge artists at Oxegen, the lads are sure to get a tad star struck. Or maybe not. “I don’t think we’re the kind of people that get star struck,” ponders Ray. “I think if I met Thom Yorke I’d be a little overwhelmed, but I don’t know. I don’t think we’re the type of people to go up to someone and say, ‘Aw I know you!’, except Tom Dunne!”, laughs Daragh. Asking them why they’d get star struck after meeting an Irish news broadcaster is not even worth it.

Admitting that Kelly Clarkson, Hanson, Paolo Nutini and wait for it, the whole Doctor Who soundtrack are on repeat on their ipods, these black-loving, skinny-jean wearing rockers are not as hard-core as they’d like us to think. “They’re good pop songs!”, Eoin replies when the topic of Girls Aloud arises. Before they completely destroy their reputations, the boys mention Metric, a band in the US they’ve been listening to flat-out lately and Northern Irish band, And So I Watch You From Afar. “ There’s lots of classical stuff too, like Steve Reich and Philip Glass who we’re going to see in concert in a couple of weeks,” says Ray. “I really love that BBC Orchestra stuff. It’s minimalist and dark sci-fi music with crazy pianos and marching sounds.”

Drawing comparisons to Muse, Coldplay and Keane, the four-some are happy to be compared to such established bands. “We just did what felt natural to us and what came along at the time and because of that, any comparison is flattering to us, especially when people say Keane. Keane are like a huge stadium rock band and we’re just a band from Ireland who haven’t done much stuff outside our own country. To be compared instantly to them is complimentary!”, enthuses Daragh. “It’s much better to be compared to someone like that than someone rubbish,” Ray butts in. And who may they be talking about, you ask? A Flock of Seagulls, a-ha and The National are just a few of the “really weird ones”. “I remember someone saying we sounded like The National. That’s like taking chalk and cheese and saying these two things are similar,” says Ray.

With a name like CODES, it would be a bit disappointing if there was a lack of mystery amongst the band. But have no fear. If you happen to be a fan on Facebook or one of their many followers on Twitter, you will be familiar with their cryptic status updates and their impossible riddles. “It’s just a way of keeping people interested and having a laugh with people. I think all of our favourite bands have that sort of aspect where there’s a lot more underneath the surface than just the things you take for granted,” says Eoin. “So instead of us writing up, ‘today we had chips..’ , we’ll do it in a way that’s fun and people might be a little more into it.”

If the lads weren’t sky-rocketing ahead in the music business, Ray sees himself doing a Ross Gellar and becoming a paleontologist. Unbeknown to the rest of the band, he insists that digging up dinosaurs is his fall-back plan. “I’m working on the beard. All I need is the checkered shirt.” “I’d like to think I’d be a sculptor or something mental,” Daragh coos. Perhaps he’s watched Ghost a few too many times. Thankfully, the guys might be able to forget about those plan-b careers after the flawless album they’ve produced. With theatrical, orchestral tunes like “Our Mysteries”, it’s easy to see where the Muse comparisons are coming from. “Telos”, a stunning instrumental worthy of Sigur Ross, the crowd sing-a-longs “Starry Eyed” and “You Are Here” and the apocalyptic static-filled opener “Malfunctions”, are just a few of the many tracks that prove Trees Dream In Algebra is an epic record that is scarily near-perfect for a debut album.

They may be set for international success, but don’t expect any sympathy from CODES if you glass yourself at their next gig. They won’t believe you.

Interview With Helen James

Made lovingly by hand, her collection of floral headpieces and stunning Obi belts deserve to be cherished, says Kerrie Donnelly

"I spent my days wandering through the museum surrounded by beautiful textiles from China, Japan and across the East. It wasn’t your average Irish influence but it definitely seeped under my skin”, says designer Helen James, referring to her childhood growing up on the grounds of the enchanting Chester Beatty Library in Dublin. It wasn’t your everyday Irish upbringing. Not many people can say that they were raised on the grounds of both a famous library and the historical Dublin Castle, but Helen is an exception. Engrossed by the tapestries and fabrics housed in the library, they later proved inspirational to her when she began to establish herself as a designer.

After graduating from the National College of Art and Design in 1992 with a degree in textile design, the talented designer emigrated to New York where she worked for Donna Karan, Club Monaco and Katayone Adeli creating stunning prints and fabrics. With ten years of experience under her belt and an urge to see an end product to her own work, Helen returned to Ireland in 2002 and set up her own fashion label. “I was designing all these prints and fabrics that would then go off and be made into something that I had no control over. The first pieces I made were basic printed scarves which led on to belts and wraps. It was from the customer that I then started to develop clothing”, she explains. Using only the finest Irish linen for her pieces, her signature Obi belts are a collection of exquisite masterpieces that have become a foundation to her eponymous label. Recently, the Westmeath-based designer launched a line of vintage inspired floral headpieces that would rival any of fellow Irish designer Philip Treacy’s designs. She uses stiff petals and delicate beading to produce breathtakingly romantic pieces.

When asked what her thoughts are on Irish designers in the industry, she says : “I think because we are out on the edge of Europe on this island we sometimes can be a little cut off. Ireland should be proud of its creative talent and realize that we are one of its greatest assets.” Being one of the lucky few to show in Paris, she understands how hard it is for Ireland’s talented designers to make it overseas. “I feel we get no support from the Government. I have shown in Paris many times which is the only way a small label can access international buyers, but it is a huge outlay and not always possible.”

Citing Dries Van Noten and Rick Owens as two of her most admirable designers, Helen comments on Owens decision to banish his publicist. “In an industry where who wears what and which celebrity is snapped with this seasons handbag has such a huge impact on sales, I think that his was a brave move and one I really admire.” As much as she loves the latter two, Alber Elbaz, the mastermind behind Lanvin stands out as her firm favourite. “I love what Alber Elbaz has done at Lanvin. Taking a sinking ship and re-hoisting its silken sails to become one of the big players on the fashion map, but all the while making exquisite clothes that are feminine and beautiful.” He’s not the only one making exquisite clothes, Helen James is as talented and gifted as any other established designer out there.

Home Time Soon

It's crazy to think that we've already completed 7 months of our course, thats the whole 1st year finito soon. Mad stuff! Anyway, I've been really busy lately organizing interviews for my short profile and long profile assignments. I got in touch with the LA based designer, Kimberly Ovitz for my short inteview, but she managed to reply to my questions with the shortest possible answers ever. How am I supposed to write a profile piece about someone using one-word quotes?! So, that was her out of the picture. I emailed a few Irish designers, and the amazing Helen James replied with such enthusiasm that I knew straight away that she'd be perfect for my piece. Her answers were brilliant and interesting, so I cant wait to get started writing up the profile. Her amazing head pieces are stunning, as are her clothing designs.

For our bigger interview, the scarier one where we actually have to meet the subject, I emailed a million different bands at home and here. Thankfully, two replied ( Republic of Loose and CODES ) so I'm going to meet them over Easter. Nervous is not the word! They're two of my favourite bands, so I'm going to be absolutely shitting myself. I'm meeting RoL after the gig in Terenure College, celebrating its 100th year anniversary, and I'm meeting CODES after a gig in Navan. I've always loved Republic of Loose but CODES have become one of my new favourite bands recently. Move over, The XX – another new obsession is developing.

Republic of Loose

CODES

A Helen James Design

A Helen James Headpiece and Belt. Dress by Eilis Boyle.