Flaming Hot Tottie

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[Arlene] Foster & [Jonathan] Bell have created a hot drink to keep you warm during the cold winter nights: the Flaming Hot Tottie. To make, combine wood burning pellets, a squeeze of lies, and a twist of aggression, and top it off with collective responsibility. Price: 400 million pounds, though free to MLAs. Commentary on the “cash for ash” (a.k.a. Renewable Heat Incentive) scheme from Comply Or Die.

See also Heating Empty Barns … Killing Kids.

Thanks to the artist for the image.

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Copyright © 2016 Seosamh Mac Coılle
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Heating Empty Barns … Killing Kids

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More commentary on the Renewable Heat Incentive scheme (see also Flaming Hot Tottie): Arlene Foster is depicted as a dragon, flogging wood pellets on her (burner!) mobile: “U lukin NE pellets – got score bags here”. Her jacket pocket is stuffed with twenties and she wears a “F**k Equality” badge on her lapel (see the wide shot, below). “killing kids” is perhaps a reference to the closure of a children’s ward at the Ulster Hospital because of short-staffing (BBC-NI).

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Are You A Robot?

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Leo Boyd screen-printed a version of his “bird feeder” piece onto the wall in Garfield Street for CNB/HTN, and also (below) the Closed Circuit Camera Book Reader at Keats & Chapman. (See Leo’s tumblr for his “tech heads” and “tele heads” series.)

Previously: Big Men Wail Hammers | When Urban Love Goes Wrong | Oh You Pretty Thing

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Layer Upon Layer

Another selection of distressed posters, torn to reveal … more posters. The electrical box in the third image was included in last year’s collection: We Had Our Distresses.

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Copyright © 2017 Seosamh Mac Coılle
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Love Wins

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Same-sex marriages took place for the first time in England, Wales, and Scotland in 2014 (and last month on the Isle of Man (BBC-NI)) but they remain illegal in Northern Ireland. Shown here are two images of Roscommon artist Joe Caslin’s massive paste-up in Hill Street, showing a Northern Ireland couple “Charlene & Sharon” (Tw) who went to the U.S. in order to marry, and a companion piece to his piece in George’s Street South in Dublin, showing two men. The parade of Belfast’s Pride festival takes place today.

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We Are One

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In addition to the ‘Love Wins’ paste-up (recorded separately), Joe Caslin and photographer Matthew Thompson (web) took photos of members of the LGBTQ community for an installation on Hill Street just below the mural. “We are one” is the theme of the festival this year, “which looks to celebrate the concept of family and the wider support network of those in the LGBTQ community.”

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Pearse Surrenders To The Developers

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In January (2016) a stencil like the one above appeared in Moore Street, Dublin. Moore Street was the place of the last stand of the Easter Rising after the GPO caught fire and campaigners were thus fighting to save it from redevelopment (Irish Times). (Moore Street’s future is still uncertain at this time, late summer 2016.)

The stencil is based on a photograph of Padraig Pearse and Elizabeth O’Farrell surrendering to the British General Lowe. The piece was ‘signed’ by Banksy, though it was immediately suspected to be not by Banksy, as he had not signed any pieces for some years, and indeed, Banksy denied that it was his (e.g. Irish Times) and Will St Ledger wished that the artist had had the confidence to claim it as their own (RTÉ).

The artist was in fact Short Strand man Séan “Seany” McVeigh, who then died in June. In honour of his life, a fellow Short Strand resident (see second image, below) produced this version of McVeigh’s piece, with the name “Seany” proudly attached. (For his other “Banksy” see a Belfast version of Banksy’s Palestinian “peace” wall stencil.)

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