public art

LIGHT AND TURN BY MARK RYAN AT SCULPTURE IN CONTEXT 2025

Making my blog more accessible is important to me. For readers who find the detailed text descriptions challenging, I've begun adding audio descriptions in a conversational format. I hope this offers a richer and more inclusive experience

PHOTOGRAPHED USING A VARIETY OF CAMERAS

LIGHT AND TURN BY MARK RYAN AT SCULPTURE IN CONTEXT 2025 [SEPTEMBER 2025]

Dublin Sculptor Mark Ryan: A Career of Material Mastery and Public Presence

Dublin sculptor Mark Ryan is a prominent artist known for his versatile command of materials and his significant contributions to public art. Working adeptly with wood, clay, steel, and bronze, Ryan creates sculptures that range from intimate forms to monumental public installations.

His work is held in national and international collections and features in major commissions for institutions like the Office of Public Works, the Department of Foreign Affairs, and University College Dublin. A notable recent piece, the ‘Heart Memorial’ at Tallaght University Hospital, highlights his capacity to create art that resonates deeply with the community.

A key feature of Ryan’s career is his long-standing participation in Sculpture in Context, the celebrated annual exhibition at Dublin’s National Botanic Gardens. A regular exhibitor, Ryan consistently uses this unique platform to engage a wide audience. As the exhibition nears its 40th anniversary in 2025, his continued presence underscores his lasting impact on the Irish art scene. His work has been recognized with accolades such as the Braun Prize at Eigse and the Halward Gallery Sculpture Prize.

Mark Ryan, sculptor, Dublin, Irish art, Sculpture in Context, National Botanic Gardens, public art, bronze, steel, wood, contemporary sculpture, Irish sculptor, public commissions, art exhibitions, Dublin art scene, William Murphy, Infomatique, September 2025,

OFF THE HOOK A PARTLY FINISHED MURAL BY OMIN

A WORK IN PROGRESS AUGUST 2025

Off the Hook: A Work in Progress by Omin

An Unfinished Mural in Waterford from August 2025

My visit to Waterford was a week earlier than planned due to last-minute issues with hotel accommodation. This meant that many of the murals I hoped to see were still in progress. On top of that, my main server ran out of resources on my return to Dublin and took almost a week to replace, which delayed the publication of these photos from my August 2025 visit to Waterford City.

The Mural on Thomas Street: A Deconstruction

The recent investigation into a specific mural on Thomas Street in Waterford confirms its connection to the artist Omin. The work in question is located on a derelict building opposite or in the immediate vicinity of Henry Downes & Co., a historic pub at 10 Thomas Street. The Waterford Walls festival often uses derelict or underutilised buildings as canvases for its murals, making urban regeneration a key part of its mission. The artwork is officially titled “Off the Hook” and was painted for the Waterford Walls festival.

The fact that the mural remained unfinished after five days is an inherent part of the public art festival experience. Large-scale mural production is a live event, often subject to a range of variables, including persistent weather. Historical accounts of previous Waterford Walls festivals note that rain has been a significant obstacle for artists, particularly those from warmer climates.

The process of a mural’s creation is a public one, and the period of observation—the daily transformation of a blank wall into a vibrant canvas is a key element of the festival’s design. The festival is a social enterprise with the explicit mission to “transform and regenerate urban spaces” and “inspire and connect communities.” By documenting the work’s evolution, the photographer becomes an active, engaged participant in this process, fulfilling one of the festival’s core objectives. The fact that the photographs capture a unique, transitional phase of the art is a powerful demonstration of this principle; the value of the art lies not only in its finished form but also in the community engagement it fosters during its creation. This in-person, dynamic experience is often valued by the organisers over a static, finished photograph.

Omin: From Graffiti Roots to a Cultural Catalyst

The artist behind the Thomas Street mural, Omin, is a significant figure in the Irish urban art scene. Born in 1982 and a graduate of Visual Communications from DIT, he is a graphic artist and muralist with over two decades of experience rooted in graffiti. His career began in his early teens, where he was part of a group that evolved into the highly regarded FOES crew. This background is crucial for understanding the authenticity and foundation of his work.

Omin’s artistic practice is a unique fusion of his graffiti roots and a modern, digital aesthetic. His work is described as a “collision” of “digital and analogue worlds.” He finds influence in the “glitches in everyday use of digital communication” and applies these concepts to his artwork using a combination of techniques, from photorealism to graphic abstraction.

Thematic consistency is a hallmark of his approach. His exhibitions and artworks, such as “Ill Communication” and “Hidden Pulse,” explore ideas of unseen energies and distorted realities, creating pieces that hint at a deeper, more vibrant life just beneath the surface of the mundane. This philosophical direction is perfectly encapsulated by his own self-description as a “Pulse maker ➰🇮🇪➰” —a title that not only describes his art but also his wider mission. He is an artist who injects a pulse of life and creativity into stagnant urban environments.

Omin’s role extends far beyond the creation of individual murals. He is a co-founder of the SEEK Urban Art Festival in his home city of Dundalk, an event credited with putting Dundalk on the global street art map. His professional journey from a graffiti artist to a commissioned muralist working with businesses and local governments, such as the Limerick City and County Council, is a direct reflection of the institutionalisation and mainstreaming of street art in Ireland. This demonstrates a significant cultural shift: an art form once associated with unsanctioned acts is now a key component of official urban revitalisation strategies. His body of work is a testament to his influence, spanning numerous high-profile commissions across the country.

The Waterford Walls Festival: Ireland’s Engine for Urban Regeneration

The Thomas Street mural does not exist in a vacuum; it is a single, integral piece of a much larger and more ambitious project. The Waterford Walls festival, which began in 2014, is a central pillar of The Walls Project, a social enterprise dedicated to delivering large-scale public artworks and community outreach projects. The festival’s explicit mission is to use art to “transform and regenerate urban spaces” and “connect communities.” With over 100 large-scale murals installed since its inception, the festival has been a powerful force in regenerating Waterford City Centre, helping to transform derelict buildings into a vibrant, open-air gallery.

The festival’s operational model is designed for maximum impact and community engagement. It invites world-class headlining artists and also hosts an open call to ensure a diverse and innovative roster. The artists are not given a strict brief but are instead encouraged to create work inspired by what Waterford represents to them, drawing on local themes such as Irish folklore, marine motifs, and the city’s Viking history. This approach ensures that the art is deeply resonant with the city’s identity. Furthermore, the festival actively fosters public participation through weekly guided tours, workshops, and panel discussions, making the art accessible and educational for residents and tourists alike.

The socio-economic impact of Waterford Walls is demonstrable. The festival has been credited with developing O’Connell Street as a “cultural quarter” and encouraging the growth of creative industries. The murals have become a source of civic pride, with one source describing how the art has given residents a reason to “look inward again” at their city, creating a “sense of place.” This emotional connection is so profound that the murals, such as the adored elephant by Louis Masai, are so cherished by the community that their removal would likely be met with protests.

The Broader Context of Public Art in Ireland

The mural on Thomas Street and the Waterford Walls festival are a microcosm of a much larger cultural movement sweeping across Ireland. The nation’s public art scene has moved beyond sporadic commissions to become a strategic tool for social cohesion and urban revitalisation. This is evidenced by projects such as the “Murals for Communities” initiative, which involves partnerships between Waterford, the Netherlands, and Lithuania. This collaborative approach, supported by organisations like Creative Europe, demonstrates how mural art can be used as a “powerful tool” to engage with “marginalised and disadvantaged communities,” fostering a sense of belonging and well-being. The murals are not merely for aesthetic purposes; they are an instrument for positive social change, capable of expressing the histories, feelings, and stories of a community.

The success of the Waterford Walls festival is not an isolated phenomenon but is part of a national trend. The existence of other prominent festivals, such as Omin’s own SEEK Urban Art Festival in Dundalk, signifies a robust and decentralised urban art movement. This movement relies on a crucial, symbiotic relationship between artists, government bodies, and private businesses. This partnership model ensures the sustainability and long-term impact of the projects, securing funding and permission for large-scale works. Omin’s own career trajectory, from his early days in a graffiti crew to his current status as a recognised artist collaborating with corporate entities and city councils, perfectly illustrates this cultural maturation. Street art in Ireland is no longer an act of rebellion but a respected and celebrated form of public expression, an integral part of the country’s cultural landscape.

Conclusion: The Enduring Legacy of Art in Public Space

The investigation into the mural on Thomas Street in Waterford reveals a complex and multi-layered story that extends far beyond a single artwork. The mural, “Off the Hook,” is a confirmed work by the influential artist Omin, located on or near Thomas Street. The observation of its “work in progress” status was not an indication of incompletion but a powerful example of the public, participatory nature of modern street art festivals.

The mural stands as a testament to the artist’s evolution, the festival’s transformative power, and the broader societal shift in how public art is perceived and utilised. It is a symbol of urban regeneration, a beacon of cultural expression, and a tangible outcome of a strategic effort to use art as a catalyst for community development. The personal act of documenting its creation becomes a unique contribution to its history, confirming that the value of such art is not solely in its finished form but in the conversations it starts, the connections it fosters, and the life it breathes into the urban environment.

HONAN’S QUAY A CANVAS OF CONTRADICTIONS – CLOSE UP AND FAR AWAY

LARGE MURAL AT HONAN’S QUAY IN LIMERICK

The former Dunnes Stores site at Honan’s Quay in Limerick City has become a focal point of discussion, not just for its ambitious artistic transformation, but also for the controversies surrounding its acquisition by the University of Limerick (UL). This site, now adorned with a striking mural and ground artwork, represents a complex interplay of urban revitalisation, artistic expression, and financial scrutiny.

The Art: Weaving Nature and Urbanity
The artistic endeavour at Honan’s Quay is a collaborative masterpiece, spearheaded by local artist collective Draw Out in partnership with Limerick City and County Council and the University of Limerick. The project initially saw internationally renowned urban artist Digo Diego adorn the walls of the UL City Centre Campus building with a captivating mural. This artwork, characterised by vivid colours and interlocking organic shapes, symbolically articulates the interactions between the city, the River Shannon, and nature, embodying an ethos of sustainable growth.

What makes this project truly innovative is its evolution into Limerick’s first ground mural. Elements from Digo Diego’s original wall painting have been distilled and extended onto the adjacent horizontal spaces, creating a seamless and immersive experience. Catherine O’Halloran of Draw Out emphasised the collaborative process with Digo Diego to ensure harmony between the two artworks, stating, “We wanted to distil the existing design pattern… and extract the DNA to ensure all the design elements translated effectively to the flat.”

The ground mural, with its “glowing extension of vibrancy and luminosity,” has transformed Honan’s Quay into a “dreamland of colour and imagination.” It’s envisioned as a dynamic public sphere for cultural and recreational purposes, inviting interaction and contemplation. The space now features a Mobile Urban Forest, seating areas, and even table tennis tables, actively encouraging people to “play, pause and be mesmerised by the impact of art on an urban landscape.”

Digo Diego, known for his work’s emphasis on environment and social issues, views his murals as a canvas to “enhance, revitalise and educate.” He expressed excitement about the project’s evolution, noting, “It is very interesting to me to create a piece that has evolved into something bigger.” The artwork’s success lies in its ability to inject warmth, joy, and playful energy into the urban fabric, demonstrating how public art can reshape our experience of a place.

The Artist: Digo Diego and Draw Out

Digo Diego is an urban artist and muralist whose work is deeply influenced by environmental and social concerns. His artistic philosophy centres on using large-scale murals as a medium for enhancement, revitalisation, and education. His distinctive style, evident in the Honan’s Quay project, often incorporates organic forms and vibrant palettes to create visually striking and conceptually rich pieces. His involvement brought an international perspective and a high level of artistic integrity to the project.

Draw Out is a local artist collective based in Limerick, playing a crucial role in bringing ambitious public art projects to fruition. Their expertise lies in translating artistic visions into tangible urban interventions. For the Honan’s Quay project, they were instrumental in the collaboration with Digo Diego, ensuring the seamless transition of the wall mural’s design elements into the groundbreaking ground mural. Draw Out, along with Limerick City Build, is also committed to cultivating a professional team of local practitioners, aiming to roll out similar projects to address derelict or underdeveloped spaces across the city. This highlights their dedication to community engagement and urban renewal through art.

The Concept: Art as Urban Regeneration

The underlying concept behind the Honan’s Quay mural project is the transformative power of public art as a tool for urban regeneration and civic engagement. The goal was to convert a previously underutilised or “derelict” space into a vibrant and inviting public realm. By introducing dynamic and visually arresting artwork, the project aims to attract people, foster a sense of community, and provide new opportunities for cultural and recreational activities along the riverfront.

This initiative is a testament to the belief that art can not only beautify an urban landscape but also imbue it with new meaning and purpose. The “tapestry of vivid colour, overlapping and interlocking shapes” creates a “new public sphere” that encourages interaction and changes the perception of the site. The project also champions sustainable growth as a hallmark for future campus development, aligning with Digo Diego’s environmental leanings. It’s a bold statement about Limerick’s commitment to utilising creative solutions for urban revitalisation and enriching the lives of its citizens.

The Site’s Shadow: Overpayment and Uncertainty

While the artistic transformation of Honan’s Quay has been widely celebrated, the site’s acquisition by the University of Limerick in 2019 for €8 million has been a subject of significant controversy. The Comptroller and Auditor General sharply criticised the purchase, stating, “It is difficult to see how the purchase represented value for money.” A retrospective valuation in 2023 further reinforced these concerns, concluding that UL had paid approximately one third more than the market value of the property four years prior. This financial discrepancy led to the university incurring a €3 million impairment charge on the acquisition in its 2022-2023 annual financial statements.

Despite the substantial investment, UL has made only limited use of the building, with only 20% of the space brought back into operation. The university is now exploring the feasibility of relocating its School of Medicine to the redeveloped city campus at Honan’s Quay, as per a proposal brought to its governing authority by acting president Professor Shane Kilcommins. He acknowledged the site as “one of the most strategically located sites in the city and it is incumbent on the university to seriously consider its intentions for the site.” However, this proposal indicates that a full and final decision on the site’s long-term use and development is yet to be definitively decided, adding to the uncertainty surrounding the initial investment.

Dunnes Stores’ Departure and the Site’s Dereliction

The Dunnes Stores at Honan’s Quay, which had been a prominent city-centre retail outlet, ceased trading there in August 2008. This departure left the significant building vacant and largely idle for over a decade, becoming what local officials and citizens often described as a major “eyesore” at a crucial gateway to Limerick City’s waterfront.

The exact reasons for Dunnes Stores’ decision to abandon this specific city centre location are not explicitly detailed in publicly available records. However, it’s a common trend for large retailers to consolidate operations or relocate to out-of-town retail parks that offer larger footprints, ample parking, and easier access for shoppers who prefer driving.

The site did indeed become derelict or unoccupied for an extended period of time, contributing to concerns about urban decay in Limerick city centre. This protracted vacancy prompted discussions and even calls for Limerick City and County Council to impose vacant site levies on Dunnes Stores to encourage development or sale. The argument was that a successful, profitable company was neglecting a substantial, strategically located site, hindering the city’s broader regeneration plans like “Limerick 2030.”

The University of Limerick’s acquisition in 2019, despite the later controversies regarding the purchase price, was seen by many as a positive step towards addressing the dereliction and bringing life back to this key city center property. The subsequent artistic interventions, preceding a full development plan, further aimed to visually transform the “eyesore” into a vibrant public space.

WIND SAIL SCULPTURE BY EAMON O’DOHERTY

IN MUCH BETTER CONDITION THAN WHEN I FIRST PHOTOGRAPHED IT

Eamon O’Doherty’s Wind Sail Sculpture on Clontarf Promenade: A Landmark Amidst Change

The Clontarf promenade is a cherished local amenity, offering sweeping views across Dublin Bay and serving as a crucial flood defence for the area. Historically, Clontarf was highly susceptible to flooding, particularly during southeasterly gales, but the promenade’s construction has been instrumental in protecting local homes and businesses.

As you approach the promenade, you’ll be looking for the distinctive “Wind Sail Sculpture” by Derry-born artist Eamon O’Doherty. However, be aware that navigating the immediate area as a pedestrian is currently quite challenging. Extensive flood defence construction work is ongoing, meaning you’ll encounter a maze of diversions, temporary fencing, and an array of huge sandbags. This work, while vital for the long-term protection of Clontarf, does make for a rather difficult and obstructed walk in the vicinity of the sculpture. We recommend exercising caution and patience as you make your way through this section.

The Artist and His Legacy

Eamon O’Doherty (1939-2011) was a prolific artist, celebrated for his large-scale public sculptures. His artistic footprint extends globally with over 40 works worldwide, and more than 30 enriching various locations across Ireland. Dublin is particularly fortunate to host six of O’Doherty’s significant pieces. These include the striking “Golden Tree” at Central Bank Plaza, the moving James Connolly Memorial at Butt Bridge, and the affectionately known “Floozy in the Jacuzzi” fountain, which, after originally gracing O’Connell Street, now resides in Croppies Memorial Park.

The Wind Sail Sculpture: A Kinetic Comeback

The “Wind Sail Sculpture”, unveiled in 1988, was ingeniously designed as a kinetic artwork, intended to respond dynamically to the wind. Unfortunately, by 2009, years of exposure to the elements had left the sculpture immobile and corroded. Thanks to the dedicated efforts of local artist Anne McGill [I visited her local studio a few years ago], who spearheaded a vital restoration project, the “Wind Sail Sculpture” has been meticulously brought back to its original splendour. It now stands proudly once more, not only as a testament to O’Doherty’s innovative artistic vision but also to the Clontarf community’s commitment to preserving its public art for future generations.

CACTUS PROVISOIRE BY ALEXANDER CALDER

FELLOWS SQUARE TRINITY COLLEGE DUBLIN

very dark maroon, in my images, it appears to be a deep, almost black, metallic hue, contrasting with the more commonly observed vibrant red or blue Calder ‘stabiles’ often seen in public spaces. This particular piece, as described by Paul Koralek, stands out not only due to its origin and placement but also its impressive scale, designed to complement the grandeur of Fellows’ Square.

Unlike the “red metal yokes” commonly associate with Irish towns and villages, “Cactus Provisoire” possesses a unique significance. It was specifically selected by Paul Koralek, architect of notable Trinity College buildings, for its “outstanding quality and substantial size” following a generous initiative by George Dawson. The process of its acquisition, visiting Calder’s widow and choosing from a field of large sculptures, underscores its artistic merit and intentional placement as a major artwork within a significant academic institution.

The sculpture itself is a ‘stabile,’ a term coined by Jean Arp to describe Calder’s stationary, abstract sculptures, as opposed to his famous ‘mobiles.’ “Cactus Provisoire” features multiple, interlocking, and somewhat organic-looking forms crafted from metal sheets, riveted together. These forms extend outwards, giving the impression of a dynamic, albeit static, object. The interplay of curved and pointed elements creates a sense of tension and balance, characteristic of Calder’s work. The dark, almost industrial, finish allows its form and the interplay of light and shadow on its surfaces to be the primary focus, rather than a vibrant colour.