This bleak and wintry scene, with snow about to fall, is of the garages between Shaws Road and Corrib Avenue. The words of Bob Marley’s Redemption Song echo Epictetus’s doctrine: “Free yourself from mental slavery – none but ourselves can free our minds”.
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This striking art – perhaps an anti-drugs message? – is on the outside wall of the Turf Lodge Tenants’ Association & Social Club (Fb) – or simply “The Green Hut” – which served as a community centre during the Troubles. For a history, see the middle part of the NVTv programme The Edge Of The World.
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“96” is the number of deaths in the 1989 Hillsborough Disaster, in which Liverpool fans were crushed to death in Sheffield Wednesday’s stadium. In the days afterward, the Sun newspaper printed allegations that drunken fans attacked and urinated on rescue workers. The newspaper apologised in 2004 but hostility towards the paper persists, with some – as in this image – refusing even to spell it in full. The taxi was spotted in Beechmount. For more on the 2016 inquest, see Hold Your Head Up High.
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More “patronising slogans” from the Cupar Way “peace” line. The artist was realistic enough to draw a security camera in the top left corner, keeping a eye on the people with peace and love balloons.
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This vintage nail-up is in Thames Street, next to the Red Devil urges people to join Sınn Féın Poblachtach, which split from (Provisional) Sınn Féın in 1986 over the decision to take seats in the Dáıl.
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The Thames Street wall of Salvezza’s pizzeria doesn’t allow for full murals because of a giant flue, but Saoradh (web | Fb) are making the most of the space with long vertical tarps. The quote on the tarp above (new for 2018) is from James Connolly, from his foreword to Labour In Irish History: “Only the Irish working class remains as the incorruptible inheritors of the fight for freedom in Ireland.”
The tarp that hung for most of 2017 is included below.
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There is either no artwork or no respect on the Cupar Way “peace” line, as tourists sign their names and leave messages (some thought patronising: see Fuck You & Your Patronising Slogans) on the wall without regard to whatever they’re writing over. The Face (on the right), by Kevin Killen (web | NVTv) and participants in a local training programme (Irish Revolution), is composed of cogs and other mechanical pieces, intending to represent the importance of industry in Shankill (and Belfast) life.
Related: A Dialogue On The Nature Of Art | Fuck Art | An Essay On The Necessity Of Art.
See also: State Art Vs Graffiti On The West Belfast “Peace” Line.
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Artist Kevin Killen gave voice to the programme: “The Face relates to the themes of Belfast industries. Working with the young adults in Impact Training, we designed and fabricated the artwork. Being a part of the project was rewarding and insightful to everyone involved. As the group was a part of the process from start to finish they have developed ownership of the artwork, which is an important benefit. I hope that the artwork gives pride to all the participants involved in the project.” (Irish Revolution)
In Margaret Atwood’s The Handmaid’s Tale, the handmaids have shopping partners, so that they are always under observation: “She is my spy as I am hers”. Artist Leo Boyd adds to the dystopian air of the book by combining the handmaid (from the new TV adaptation of the book – currently available only in the US) with an outdated computer monitor.
Here is some of Leo’s other work.
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Here is another PSNI land rover from Leo Boyd (web | ig). The first can be seen in “Nothing to fear, nothing to hide“; in this one, a new piece: a PSNI pedal car is “My first meat wagon”.
Here is some of Leo’s other work.
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Seosamh Mac Coille Collection 