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.