WINIFRED CARNEY MEMORIAL
WINIFRED CARNEY MEMORIAL [BELFAST CITY HALL MAY 2025]
Winifred Carney: A Lasting Tribute to a Revolutionary Life in Belfast
Belfast City Hall, a symbol of the city's rich history, now hosts a profound act of public commemoration. In March 2024, a bronze statue honouring Maria Winifred "Winnie" Carney was unveiled on its grounds. This marked a significant moment in Belfast's evolving narrative of historical recognition.
Winifred Carney (1887–1943) was a formidable figure in Irish history, known for her roles as a trade union secretary, women's suffragist, socialist party member, and a key participant in the 1916 Easter Rising in Dublin. This report explores Carney's extensive background, her multifaceted activism, and her enduring legacy. It also examines the symbolism and public recognition surrounding her statue, contextualising its placement within Belfast City Hall's historical landscape of memorials. Finally, it details the artistic contributions of the sculptors, Ralf and Naomi Sander, who brought this important tribute to fruition.
A Symbolic Unveiling
The unveiling of Carney's statue on International Women's Day 2024 was a highly symbolic act. The deliberate choice of this date explicitly links her commemoration to broader themes of female achievement and gender equality. This timing amplifies the statue's message beyond a simple historical acknowledgement, positioning it as a powerful statement on contemporary values and the ongoing struggle for women's rights.
Furthermore, Carney's statue, alongside that of Mary Ann McCracken, represents the first non-royals to be honoured in such fashion in the City Hall grounds. This signifies a profound evolution in Belfast's civic identity and its approach to public memory. Historically, monuments at Belfast City Hall largely reflected narratives of imperial service, industrial prowess, and civic leadership. The inclusion of figures like Carney, a republican and socialist, marks a deliberate departure from this traditional, often exclusive, narrative. This shift indicates a conscious effort by Belfast City Council to foster a "good and harmonious environment" by embracing a more inclusive and diverse understanding of the city's history, thereby contributing to reconciliation in a post-conflict society.
Winifred Carney: A Life of Revolutionary Activism
Winifred Carney's life was defined by an unwavering commitment to social justice and Irish independence, evolving from her early experiences into a multifaceted revolutionary.
Early Life and Influences
Born Maria Winifred Carney on 4 December 1887 in Fisher's Hill, Bangor, County Down, she came from a lower-middle-class Catholic family. Her early life was shaped by family challenges; her father, a Protestant commercial traveller, later left the family, compelling her mother, Sarah Cassidy, to support their seven children. The family relocated to Falls Road in Belfast, where her mother managed a small sweet shop. These early experiences, particularly her family's economic struggles, likely fostered a deep empathy for the working class and cultivated a strong sense of independence within Carney, crucial for understanding her later commitment to socialist and trade union causes.
Carney was educated at the Christian Brothers School in Donegall Street, Belfast, where she also taught before qualifying around 1911 as a secretary and shorthand typist. This achievement was pioneering for women in Belfast at the time, providing her with a progressive career path. Her pursuit of secretarial skills was not merely a vocational choice but a pathway to economic independence and access to influential political figures like James Connolly, making it a foundational element of her activism.
In her early twenties, Carney also became involved with the Gaelic League, an organisation established in 1893 to preserve the Irish Language and a driving force behind the Gaelic Revival. Her involvement reflected a personal interest in art, literature, and music, aligning with a wider cultural movement in Irish society. This suggests a holistic vision for Irish identity that encompassed language and arts, providing a crucial ideological and emotional foundation for her later, more militant revolutionary commitments.
Suffragist, Trade Unionist, and Socialist Pioneer
Carney was a prominent suffragist, a committed trade unionist, and an active member of the socialist party, embodying a lifelong dedication to social and political activism. Her simultaneous engagement across these movements demonstrates an early understanding of intersectionality, recognising that women's liberation, workers' rights, and national independence were deeply interconnected. She joined the Women's Social and Political Union (WSPU) at a time when its militants were engaged in a campaign of arson attacks against Unionist-associated properties, highlighting her willingness to embrace radical tactics for social change.
A pivotal aspect of her career was her close collaboration with James Connolly, serving as his personal and union-branch secretary. In this capacity, she typed most of his articles for the labour press, including editorials for The Workers' Republic in early 1916, which built towards a call to arms. In 1913, Carney co-wrote the powerful Manifesto to the Linen Slaves of Belfast with Connolly. This "timely and hard-hitting" document exposed the horrific conditions of Belfast's linen mills, where predominantly women and children worked long hours for meagre wages. The manifesto's vivid language positions her not merely as an organiser but as a key intellectual and strategic force within the Irish labour movement, directly challenging the brutal realities of industrial capitalism.
Alongside Nell Gordon, a recruited mill worker, Carney was instrumental in keeping the Irish Transport and General Workers' Union (ITGWU) operational during Connolly's frequent absences from Belfast. During the great Dublin Lock-out in 1913, she and Gordon worked tirelessly to raise funds, provide practical support, and offer accommodation for locked-out workers who came to Belfast.
The Easter Rising: Aide-de-Camp to James Connolly
As a committed nationalist, Carney was one of approximately ten founding members of Cumann na mBan (League of Women) in 1914, serving as a women's auxiliary to the Irish Volunteers. She helped establish the Belfast branch and later became its President. She also joined the Irish Citizen Army (ICA), achieving the rank of Adjutant by 1916. The ICA was notable for its progressive stance, giving women "rank and duty just as if they were men." Her relationship with James Connolly deepened considerably; she became his close friend, confidante, and personal secretary.
A week before the Easter Rising, Connolly summoned Carney to Dublin. Having set out with the initial garrison party from Liberty Hall on Easter Monday, Carney, armed with both a typewriter and a Webley revolver, became the first woman to enter the General Post Office (GPO) during the Rising. Her dual role – armed combatant and indispensable typist/aide-de-camp – highlights her unique and multifaceted contribution. During the week of the Rising (24-29 April), she served as Connolly's aide-de-camp and famously refused to leave his side after he was wounded. On the morning of the final day, Friday 29 April, she took dictation for his stirring address to the assembled GPO rebels. Along with Julia Grenan and Elizabeth O'Farrell, Carney was one of the last women to leave the GPO, typing out the surrender notices. Her prominent role positions her as a central, yet historically often overlooked, figure in one of modern Ireland's foundational events.
Post-Rising Activism and Political Evolution
Following the Rising, Carney was interned and transferred to Aylesbury Prison in England. After her release, she continued to work for the ITGWU in both Belfast and Dublin. In 1917, she was chosen as the Belfast delegate to the National Convention of Cumann na mBan and elected President of the Belfast branch. In May 1917, she insisted on a feminist socialist platform as a female candidate. In 1918, Carney stood as a Sinn Féin candidate in the general election, one of only two female candidates nationwide.
However, she became disillusioned with the party and joined the Northern Ireland Labour Party in 1924. Her post-Rising trajectory reveals a consistent commitment to her core socialist and labour ideals, even as the political landscape of Ireland dramatically changed with the Anglo-Irish Treaty and Partition. As an active trade unionist, she notably sought support from both sides of the sectarian divide in Northern Ireland, demonstrating a pragmatic and principled approach to unity in a divided society.
Through her involvement in the trade union movement, she met and married a Unionist, an "unlikely bedfellow" given her firm Socialist Republican views. Carney's personal decision to marry a Unionist offers a powerful symbolic counter-narrative to the prevailing political and sectarian polarisation of the time, making her a particularly resonant and complex figure for contemporary Belfast. Carney lived to witness the partition of Ireland, a development that James Connolly had warned would lead to a "carnival of reaction."
Legacy and Historical Recognition
Winifred Carney died on 21 November 1943, at the age of 55, and is laid to rest in Milltown Cemetery, Belfast. Despite her pivotal roles, she was, in many ways, "written out of history." This explicit acknowledgement highlights a systemic issue in historical commemoration, particularly concerning radical female figures. The statue, therefore, functions as an act of historical redress, correcting past omissions.
Her memory and what she stood for are now being revived through public recognition, most notably with the unveiling of her statue. Her life and activism are increasingly recognised as pioneering battles for women's equality, inspiring "thousands of living legacies" in workplaces and communities across Belfast. Carney's enduring legacy is actively invoked by contemporary trade unionists and activists as a symbol for ongoing struggles for social justice, workers' rights, and a more equitable society. Her recognition, particularly at Belfast City Hall, signifies a maturation of Belfast's civic identity, allowing for a more complex and inclusive narrative that embraces previously contested figures.
The Winifred Carney Memorial: Symbolism and Public Recognition
The statue of Winifred Carney at Belfast City Hall is more than a mere likeness; it is a powerful symbol embedded within a specific historical and civic landscape.
Context of Memorials at Belfast City Hall
The grounds of Belfast City Hall serve as a significant site of public memory, hosting numerous memorials and statues. Historically, these have predominantly commemorated figures associated with military service, industrial prowess, or civic tragedies. The existing monuments reflect a specific, historically dominant narrative of the city, primarily focused on its industrial, military, and civic achievements, largely from a male and unionist perspective.
This context underscores the groundbreaking significance of the Carney statue as a deliberate departure from this traditional, often exclusive, historical representation. The historical composition of the City Hall memorials reveals a long-standing omission of significant female figures and diverse political narratives. The introduction of Carney's statue therefore represents a deliberate and transformative step towards a more inclusive and representative public history in Belfast, actively challenging and broadening the scope of what is deemed worthy of civic commemoration.
Unveiling and Significance on International Women's Day
The striking bronze statue of Winifred Carney, alongside that of Mary Ann McCracken, was officially unveiled on 8 March 2024, deliberately coinciding with International Women's Day. The statues are strategically located on the front lawn area of City Hall, positioned on either side of the statue celebrating Queen Victoria's Diamond Jubilee in 1897. The strategic timing and deliberate placement are highly symbolic choices, amplifying the message of female empowerment and historical recognition, creating a visual dialogue between imperial history and local, diverse narratives of social and political change. These statues are historically significant as they are the first non-royal women to be honoured with permanent figures in the grounds of Belfast City Hall.
The unveiling ceremony was a comprehensive celebratory event, featuring music, poetry, performances, and a panel discussion. It was attended by key figures including Belfast Lord Mayor Councillor Ryan Murphy and sculptors Ralf and Naomi Sander. Lord Mayor Ryan Murphy articulated the council's view that the statues provide "formal recognition... on behalf of the city" for "two of the most notable and influential women in Belfast's history." He highlighted that the installation marks an important step in implementing recommendations from a 2012 report aimed at creating a "good and harmonious environment" through City Hall displays. The statues are intended to "celebrate female achievement, inclusivity and the diversity of the people who have helped shape our city."
Design and Symbolic Representation of the Sculpture
The Winifred Carney memorial is a striking bronze, life-size figurative sculpture. Its design specifically reflects Carney's multifaceted contributions and key roles. She is depicted as a trade unionist, an adjutant in the Irish Citizen Army, and James Connolly's personal secretary and political confidante. The statue explicitly shows her in the uniform of the Irish Citizen Army, visually connecting her to her revolutionary armed struggle.
The deliberate choice to depict Carney in her Irish Citizen Army uniform, alongside visual cues to her roles as a trade unionist and Connolly's secretary, is crucial. This visually encapsulates the multifaceted nature of her activism, acknowledging her revolutionary armed struggle while simultaneously honouring her social and labour commitments, thus avoiding a simplistic or sanitised portrayal of her life. Ralf Sander, who led on the sculpture of Winifred Carney, expressed the aim to "capture the essence" of the women in the final pieces. This artistic decision contributes to a more complete and authentic historical representation, allowing the public to engage with the full breadth of her contributions, including those aspects that might have been historically controversial or overlooked.
The Commissioning Process
The commissioning of the Carney and McCracken statues followed a rigorous and transparent process. Plans for both statues were initially agreed upon in 2021, with the Strategic Policy and Resources Committee of Belfast City Council formally agreeing in March 2022 to advance the project to the Capital Programme. The Department for Communities provided match funding for the statue.
The artist selection process involved a multi-stage approach, culminating in the appointment of a selected artist in February 2023. A key aspect of the project involved agreeing upon and developing a clear "narrative and context" around the installation of the new pieces. This involved partnering with the Mary Ann McCracken Foundation and a "Winifred Carney subject matter expert" to ensure historical accuracy and appropriate messaging. The detailed, multi-stage commissioning process underscores the civic importance and sensitive nature of public art projects in Belfast.
The Artists: Ralf and Naomi Sander
The creation of the Winifred Carney statue was a collaborative effort by internationally acclaimed sculptor Ralf Sander and his daughter, Naomi Sander.
Ralf Sander's Background and Style
Ralf Volker Sander, born 15 December 1963 in West Berlin, is an internationally active sculptor. He studied fine art and art history at Berlin University of the Arts. His early works primarily focused on the human body, but since 2000, he has experimented with diverse materials and media, including film. He frequently integrates the participation of entire social groups into his working process, a concept he links to Joseph Beuys's term "Soziale Plastik" (Social Sculpture). This approach, where his work engages with and incorporates the broader social context, aligns well with the public art project at Belfast City Hall, which aims to foster a harmonious environment by reflecting the city's diverse history. His global experience includes serving as a visiting professor at the Academy of Fine Arts in Warsaw, a Reader at the University of Ulster in Belfast, and a professor for sculpture at Seoul National University.
Naomi Sander's Background and Contribution
Naomi Sander, Ralf's daughter, was the lead artist on the Mary Ann McCracken sculpture, while Ralf led on Winifred Carney's. Naomi's background is rooted in fine art, with a Bachelor's Degree in Fine Art (drawing and sculpture emphasis) from Otis/Parsons College of Art and Design in Los Angeles. She further pursued a Master's Degree in Landscape Architecture from the University of Southern California, demonstrating an interest in urban development, community engagement, and natural phenomena. Her diverse background, encompassing both fine art and landscape architecture, offers a holistic approach to public space and art integration. Her emphasis on collaboration aligns with the project's broader goals of fostering dialogue and trust in public memory.
Studio Sander & Sander Collaboration
The collaboration between Ralf and Naomi Sander as "Studio Sander & Sander" for the Belfast City Hall statues adds a unique dimension to the project. While Ralf led on the Carney sculpture and Naomi on McCracken's, their joint effort signifies a blend of established expertise and contemporary artistic vision. Ralf Sander commented that it was a "very rewarding project to deliver" and expressed hope that they had "captured the essence of both women in the final pieces." The father-daughter collaboration itself symbolises intergenerational dialogue, mirroring the project's aim to connect past legacies with present and future civic identity.
Conclusion
The unveiling of the Winifred Carney statue at Belfast City Hall represents a significant milestone in the city's ongoing journey towards a more inclusive and comprehensive understanding of its history. Carney emerges as a formidable figure whose life embodied a powerful confluence of Irish nationalism, labour activism, and women's rights advocacy. Her pivotal role in the Easter Rising, her pioneering efforts in trade unionism, and her unwavering commitment to social justice underscore her enduring relevance.
The statue, strategically placed and unveiled on International Women's Day, is not merely a static memorial but a dynamic symbol. It actively challenges historical omissions, broadens the traditional narrative of commemoration at City Hall, and signals Belfast's commitment to acknowledging the diverse contributions of all its citizens, including those previously overlooked or contested. The meticulous commissioning process and the collaborative artistic vision of Ralf and Naomi Sander have culminated in a powerful bronze tribute that captures Carney's essence, visually communicating her multifaceted legacy. This monument stands as a testament to her revolutionary spirit and serves as an educational beacon, fostering a deeper appreciation for the complex tapestry of Belfast's past and contributing to a more harmonious civic identity for its future.
Winifred Carney: A Lasting Tribute to a Revolutionary Life in Belfast
Belfast City Hall, a symbol of the city's rich history, now hosts a profound act of public commemoration. In March 2024, a bronze statue honouring Maria Winifred "Winnie" Carney was unveiled on its grounds. This marked a significant moment in Belfast's evolving narrative of historical recognition.
Winifred Carney (1887–1943) was a formidable figure in Irish history, known for her roles as a trade union secretary, women's suffragist, socialist party member, and a key participant in the 1916 Easter Rising in Dublin. This report explores Carney's extensive background, her multifaceted activism, and her enduring legacy. It also examines the symbolism and public recognition surrounding her statue, contextualising its placement within Belfast City Hall's historical landscape of memorials. Finally, it details the artistic contributions of the sculptors, Ralf and Naomi Sander, who brought this important tribute to fruition.
A Symbolic Unveiling
The unveiling of Carney's statue on International Women's Day 2024 was a highly symbolic act. The deliberate choice of this date explicitly links her commemoration to broader themes of female achievement and gender equality. This timing amplifies the statue's message beyond a simple historical acknowledgement, positioning it as a powerful statement on contemporary values and the ongoing struggle for women's rights.
Furthermore, Carney's statue, alongside that of Mary Ann McCracken, represents the first non-royals to be honoured in such fashion in the City Hall grounds. This signifies a profound evolution in Belfast's civic identity and its approach to public memory. Historically, monuments at Belfast City Hall largely reflected narratives of imperial service, industrial prowess, and civic leadership. The inclusion of figures like Carney, a republican and socialist, marks a deliberate departure from this traditional, often exclusive, narrative. This shift indicates a conscious effort by Belfast City Council to foster a "good and harmonious environment" by embracing a more inclusive and diverse understanding of the city's history, thereby contributing to reconciliation in a post-conflict society.
Winifred Carney: A Life of Revolutionary Activism
Winifred Carney's life was defined by an unwavering commitment to social justice and Irish independence, evolving from her early experiences into a multifaceted revolutionary.
Early Life and Influences
Born Maria Winifred Carney on 4 December 1887 in Fisher's Hill, Bangor, County Down, she came from a lower-middle-class Catholic family. Her early life was shaped by family challenges; her father, a Protestant commercial traveller, later left the family, compelling her mother, Sarah Cassidy, to support their seven children. The family relocated to Falls Road in Belfast, where her mother managed a small sweet shop. These early experiences, particularly her family's economic struggles, likely fostered a deep empathy for the working class and cultivated a strong sense of independence within Carney, crucial for understanding her later commitment to socialist and trade union causes.
Carney was educated at the Christian Brothers School in Donegall Street, Belfast, where she also taught before qualifying around 1911 as a secretary and shorthand typist. This achievement was pioneering for women in Belfast at the time, providing her with a progressive career path. Her pursuit of secretarial skills was not merely a vocational choice but a pathway to economic independence and access to influential political figures like James Connolly, making it a foundational element of her activism.
In her early twenties, Carney also became involved with the Gaelic League, an organisation established in 1893 to preserve the Irish Language and a driving force behind the Gaelic Revival. Her involvement reflected a personal interest in art, literature, and music, aligning with a wider cultural movement in Irish society. This suggests a holistic vision for Irish identity that encompassed language and arts, providing a crucial ideological and emotional foundation for her later, more militant revolutionary commitments.
Suffragist, Trade Unionist, and Socialist Pioneer
Carney was a prominent suffragist, a committed trade unionist, and an active member of the socialist party, embodying a lifelong dedication to social and political activism. Her simultaneous engagement across these movements demonstrates an early understanding of intersectionality, recognising that women's liberation, workers' rights, and national independence were deeply interconnected. She joined the Women's Social and Political Union (WSPU) at a time when its militants were engaged in a campaign of arson attacks against Unionist-associated properties, highlighting her willingness to embrace radical tactics for social change.
A pivotal aspect of her career was her close collaboration with James Connolly, serving as his personal and union-branch secretary. In this capacity, she typed most of his articles for the labour press, including editorials for The Workers' Republic in early 1916, which built towards a call to arms. In 1913, Carney co-wrote the powerful Manifesto to the Linen Slaves of Belfast with Connolly. This "timely and hard-hitting" document exposed the horrific conditions of Belfast's linen mills, where predominantly women and children worked long hours for meagre wages. The manifesto's vivid language positions her not merely as an organiser but as a key intellectual and strategic force within the Irish labour movement, directly challenging the brutal realities of industrial capitalism.
Alongside Nell Gordon, a recruited mill worker, Carney was instrumental in keeping the Irish Transport and General Workers' Union (ITGWU) operational during Connolly's frequent absences from Belfast. During the great Dublin Lock-out in 1913, she and Gordon worked tirelessly to raise funds, provide practical support, and offer accommodation for locked-out workers who came to Belfast.
The Easter Rising: Aide-de-Camp to James Connolly
As a committed nationalist, Carney was one of approximately ten founding members of Cumann na mBan (League of Women) in 1914, serving as a women's auxiliary to the Irish Volunteers. She helped establish the Belfast branch and later became its President. She also joined the Irish Citizen Army (ICA), achieving the rank of Adjutant by 1916. The ICA was notable for its progressive stance, giving women "rank and duty just as if they were men." Her relationship with James Connolly deepened considerably; she became his close friend, confidante, and personal secretary.
A week before the Easter Rising, Connolly summoned Carney to Dublin. Having set out with the initial garrison party from Liberty Hall on Easter Monday, Carney, armed with both a typewriter and a Webley revolver, became the first woman to enter the General Post Office (GPO) during the Rising. Her dual role – armed combatant and indispensable typist/aide-de-camp – highlights her unique and multifaceted contribution. During the week of the Rising (24-29 April), she served as Connolly's aide-de-camp and famously refused to leave his side after he was wounded. On the morning of the final day, Friday 29 April, she took dictation for his stirring address to the assembled GPO rebels. Along with Julia Grenan and Elizabeth O'Farrell, Carney was one of the last women to leave the GPO, typing out the surrender notices. Her prominent role positions her as a central, yet historically often overlooked, figure in one of modern Ireland's foundational events.
Post-Rising Activism and Political Evolution
Following the Rising, Carney was interned and transferred to Aylesbury Prison in England. After her release, she continued to work for the ITGWU in both Belfast and Dublin. In 1917, she was chosen as the Belfast delegate to the National Convention of Cumann na mBan and elected President of the Belfast branch. In May 1917, she insisted on a feminist socialist platform as a female candidate. In 1918, Carney stood as a Sinn Féin candidate in the general election, one of only two female candidates nationwide.
However, she became disillusioned with the party and joined the Northern Ireland Labour Party in 1924. Her post-Rising trajectory reveals a consistent commitment to her core socialist and labour ideals, even as the political landscape of Ireland dramatically changed with the Anglo-Irish Treaty and Partition. As an active trade unionist, she notably sought support from both sides of the sectarian divide in Northern Ireland, demonstrating a pragmatic and principled approach to unity in a divided society.
Through her involvement in the trade union movement, she met and married a Unionist, an "unlikely bedfellow" given her firm Socialist Republican views. Carney's personal decision to marry a Unionist offers a powerful symbolic counter-narrative to the prevailing political and sectarian polarisation of the time, making her a particularly resonant and complex figure for contemporary Belfast. Carney lived to witness the partition of Ireland, a development that James Connolly had warned would lead to a "carnival of reaction."
Legacy and Historical Recognition
Winifred Carney died on 21 November 1943, at the age of 55, and is laid to rest in Milltown Cemetery, Belfast. Despite her pivotal roles, she was, in many ways, "written out of history." This explicit acknowledgement highlights a systemic issue in historical commemoration, particularly concerning radical female figures. The statue, therefore, functions as an act of historical redress, correcting past omissions.
Her memory and what she stood for are now being revived through public recognition, most notably with the unveiling of her statue. Her life and activism are increasingly recognised as pioneering battles for women's equality, inspiring "thousands of living legacies" in workplaces and communities across Belfast. Carney's enduring legacy is actively invoked by contemporary trade unionists and activists as a symbol for ongoing struggles for social justice, workers' rights, and a more equitable society. Her recognition, particularly at Belfast City Hall, signifies a maturation of Belfast's civic identity, allowing for a more complex and inclusive narrative that embraces previously contested figures.
The Winifred Carney Memorial: Symbolism and Public Recognition
The statue of Winifred Carney at Belfast City Hall is more than a mere likeness; it is a powerful symbol embedded within a specific historical and civic landscape.
Context of Memorials at Belfast City Hall
The grounds of Belfast City Hall serve as a significant site of public memory, hosting numerous memorials and statues. Historically, these have predominantly commemorated figures associated with military service, industrial prowess, or civic tragedies. The existing monuments reflect a specific, historically dominant narrative of the city, primarily focused on its industrial, military, and civic achievements, largely from a male and unionist perspective.
This context underscores the groundbreaking significance of the Carney statue as a deliberate departure from this traditional, often exclusive, historical representation. The historical composition of the City Hall memorials reveals a long-standing omission of significant female figures and diverse political narratives. The introduction of Carney's statue therefore represents a deliberate and transformative step towards a more inclusive and representative public history in Belfast, actively challenging and broadening the scope of what is deemed worthy of civic commemoration.
Unveiling and Significance on International Women's Day
The striking bronze statue of Winifred Carney, alongside that of Mary Ann McCracken, was officially unveiled on 8 March 2024, deliberately coinciding with International Women's Day. The statues are strategically located on the front lawn area of City Hall, positioned on either side of the statue celebrating Queen Victoria's Diamond Jubilee in 1897. The strategic timing and deliberate placement are highly symbolic choices, amplifying the message of female empowerment and historical recognition, creating a visual dialogue between imperial history and local, diverse narratives of social and political change. These statues are historically significant as they are the first non-royal women to be honoured with permanent figures in the grounds of Belfast City Hall.
The unveiling ceremony was a comprehensive celebratory event, featuring music, poetry, performances, and a panel discussion. It was attended by key figures including Belfast Lord Mayor Councillor Ryan Murphy and sculptors Ralf and Naomi Sander. Lord Mayor Ryan Murphy articulated the council's view that the statues provide "formal recognition... on behalf of the city" for "two of the most notable and influential women in Belfast's history." He highlighted that the installation marks an important step in implementing recommendations from a 2012 report aimed at creating a "good and harmonious environment" through City Hall displays. The statues are intended to "celebrate female achievement, inclusivity and the diversity of the people who have helped shape our city."
Design and Symbolic Representation of the Sculpture
The Winifred Carney memorial is a striking bronze, life-size figurative sculpture. Its design specifically reflects Carney's multifaceted contributions and key roles. She is depicted as a trade unionist, an adjutant in the Irish Citizen Army, and James Connolly's personal secretary and political confidante. The statue explicitly shows her in the uniform of the Irish Citizen Army, visually connecting her to her revolutionary armed struggle.
The deliberate choice to depict Carney in her Irish Citizen Army uniform, alongside visual cues to her roles as a trade unionist and Connolly's secretary, is crucial. This visually encapsulates the multifaceted nature of her activism, acknowledging her revolutionary armed struggle while simultaneously honouring her social and labour commitments, thus avoiding a simplistic or sanitised portrayal of her life. Ralf Sander, who led on the sculpture of Winifred Carney, expressed the aim to "capture the essence" of the women in the final pieces. This artistic decision contributes to a more complete and authentic historical representation, allowing the public to engage with the full breadth of her contributions, including those aspects that might have been historically controversial or overlooked.
The Commissioning Process
The commissioning of the Carney and McCracken statues followed a rigorous and transparent process. Plans for both statues were initially agreed upon in 2021, with the Strategic Policy and Resources Committee of Belfast City Council formally agreeing in March 2022 to advance the project to the Capital Programme. The Department for Communities provided match funding for the statue.
The artist selection process involved a multi-stage approach, culminating in the appointment of a selected artist in February 2023. A key aspect of the project involved agreeing upon and developing a clear "narrative and context" around the installation of the new pieces. This involved partnering with the Mary Ann McCracken Foundation and a "Winifred Carney subject matter expert" to ensure historical accuracy and appropriate messaging. The detailed, multi-stage commissioning process underscores the civic importance and sensitive nature of public art projects in Belfast.
The Artists: Ralf and Naomi Sander
The creation of the Winifred Carney statue was a collaborative effort by internationally acclaimed sculptor Ralf Sander and his daughter, Naomi Sander.
Ralf Sander's Background and Style
Ralf Volker Sander, born 15 December 1963 in West Berlin, is an internationally active sculptor. He studied fine art and art history at Berlin University of the Arts. His early works primarily focused on the human body, but since 2000, he has experimented with diverse materials and media, including film. He frequently integrates the participation of entire social groups into his working process, a concept he links to Joseph Beuys's term "Soziale Plastik" (Social Sculpture). This approach, where his work engages with and incorporates the broader social context, aligns well with the public art project at Belfast City Hall, which aims to foster a harmonious environment by reflecting the city's diverse history. His global experience includes serving as a visiting professor at the Academy of Fine Arts in Warsaw, a Reader at the University of Ulster in Belfast, and a professor for sculpture at Seoul National University.
Naomi Sander's Background and Contribution
Naomi Sander, Ralf's daughter, was the lead artist on the Mary Ann McCracken sculpture, while Ralf led on Winifred Carney's. Naomi's background is rooted in fine art, with a Bachelor's Degree in Fine Art (drawing and sculpture emphasis) from Otis/Parsons College of Art and Design in Los Angeles. She further pursued a Master's Degree in Landscape Architecture from the University of Southern California, demonstrating an interest in urban development, community engagement, and natural phenomena. Her diverse background, encompassing both fine art and landscape architecture, offers a holistic approach to public space and art integration. Her emphasis on collaboration aligns with the project's broader goals of fostering dialogue and trust in public memory.
Studio Sander & Sander Collaboration
The collaboration between Ralf and Naomi Sander as "Studio Sander & Sander" for the Belfast City Hall statues adds a unique dimension to the project. While Ralf led on the Carney sculpture and Naomi on McCracken's, their joint effort signifies a blend of established expertise and contemporary artistic vision. Ralf Sander commented that it was a "very rewarding project to deliver" and expressed hope that they had "captured the essence of both women in the final pieces." The father-daughter collaboration itself symbolises intergenerational dialogue, mirroring the project's aim to connect past legacies with present and future civic identity.
Conclusion
The unveiling of the Winifred Carney statue at Belfast City Hall represents a significant milestone in the city's ongoing journey towards a more inclusive and comprehensive understanding of its history. Carney emerges as a formidable figure whose life embodied a powerful confluence of Irish nationalism, labour activism, and women's rights advocacy. Her pivotal role in the Easter Rising, her pioneering efforts in trade unionism, and her unwavering commitment to social justice underscore her enduring relevance.
The statue, strategically placed and unveiled on International Women's Day, is not merely a static memorial but a dynamic symbol. It actively challenges historical omissions, broadens the traditional narrative of commemoration at City Hall, and signals Belfast's commitment to acknowledging the diverse contributions of all its citizens, including those previously overlooked or contested. The meticulous commissioning process and the collaborative artistic vision of Ralf and Naomi Sander have culminated in a powerful bronze tribute that captures Carney's essence, visually communicating her multifaceted legacy. This monument stands as a testament to her revolutionary spirit and serves as an educational beacon, fostering a deeper appreciation for the complex tapestry of Belfast's past and contributing to a more harmonious civic identity for its future.
WINIFRED CARNEY MEMORIAL