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FLYING FIGURES SCULPTURE BY ELISABETH FRINK HAVE BEEN REPLACED BY THE SALMON OF KNOWLEDGE

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THE STREETS OF BELFAST
THE STREETS OF BELFAST
FLYING FIGURES SCULPTURE BY ELISABETH FRINK HAVE BEEN REPLACED BY THE SALMON OF KNOWLEDGE
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BELFAST MAY 2025

FLYING FIGURES SCULPTURE BY ELISABETH FRINK HAVE BEEN REPLACED BY THE SALMON OF KNOWLEDGE [BELFAST MAY 2025]

The Evolving Canvas of Shaftesbury Square: From ‘Flying Figures’ to ‘Salmon of Knowledge’

  1. Introduction: A Landmark Transformed

The urban landscape of Belfast, particularly around Shaftesbury Square, is a dynamic canvas reflecting the city’s rich history and ongoing cultural evolution. For decades, the former Ulster Bank building at 136-142 Great Victoria Street stood as a recognisable landmark, not least due to the distinctive sculptures adorning its façade. The observation of these sculptures being replaced by a vibrant mural signals a significant shift in the public art narrative of this key city junction. This report meticulously researches and documents this transformation, providing a comprehensive account of the original artwork’s fate, the details of its replacement, and the current status of the building itself.

  1. The Departure of Elisabeth Frink’s ‘Flying Figures’

This section details the history, significance, and eventual removal of the iconic sculptures that graced the Ulster Bank building for nearly six decades.

2.1 The Original Commission and Its Enduring Legacy

The iconic aluminium sculptures, originally titled ‘Airborne Men’ and later officially known as ‘Flying Figures’, were commissioned in 1961 from the renowned British artist Elisabeth Frink (1930–1993). This significant public art commission was initiated by Lurgan-based architects Houston & Beaumont, alongside the Arts Council of Northern Ireland, acting on behalf of Ulster Bank. Their intention was for the sculptures to serve as a prominent focal point for the then-new banking facility in Shaftesbury Square. The artwork was unveiled to the public upon the building’s opening in 1964.  

Elisabeth Frink’s artistic practice was deeply influenced by her childhood experiences during the Second World War and her lifelong passion for nature, particularly horses and birds. She achieved early success, selling work to the Tate Gallery at just 21 years old while still a student. Her association with the “Geometry of Fear” group of British sculptors, whose work often reflected the anxiety prevalent in post-war society, provided a critical lens through which her art was understood. Frink’s winged figures, created in the early 1960s, notably combined elements of birds of prey with shapes reminiscent of aircraft wings, merging her core influences of the horrors of war and the natural world.  

Despite an initial mixed public reception, with some observers finding the sculptures “unfinished” or even deeming them to “make a fine building a laughing stock”, the ‘Flying Figures’ quickly transcended this early criticism. Over their nearly sixty years in place, they became a “beloved part of Belfast life” and were widely recognised as an “iconic city sculpture”. A testament to their deep integration into the local culture was the emergence of affectionate nicknames such as ‘Draft and Overdraft’ and ‘Credit and Debit’. These playful monikers, directly referencing the sculptures’ location on a bank building, highlight the public’s active engagement and appropriation of public art. This phenomenon demonstrates that the enduring value of public art is often determined not solely by initial artistic intent or critical reception, but significantly by its ability to resonate with and be adopted by the local community, becoming a unique part of its identity and collective memory.  

2.2 Removal and New Custodianship

The ‘Flying Figures’ sculptures were carefully removed from the building on Wednesday, 28th June 2023. This decision was primarily driven by the need for their preservation, ensuring the long-term future of these “internationally important artworks”. The removal coincided with Ulster Bank’s formal ending of its connection with the building, a process finalised by August 2023. It is important to note that Ulster Bank had sold the building in 2009 but had subsequently taken a lease of the structure and, crucially, retained ownership of the sculptures to help protect and preserve them. With the lease concluding, a new arrangement for the artworks was necessary.  

In a significant move, Ulster Bank generously gifted the sculptures to National Museums NI, specifically for display at the Ulster Museum. This transfer was undertaken with the explicit aim of ensuring that the public could continue to have access to these culturally significant works. National Museums NI was deemed an “appropriate custodian” given its status as a world-class museum organisation and its existing collection of Elisabeth Frink’s works, which it had acquired in 2019. Plans are currently in development to display the sculptures in a prominent position at the Ulster Museum following a thorough conservation assessment and preparation.  

The decision to remove the ‘Flying Figures’ from their original public setting and transfer them to a museum marks a notable shift in the approach to preserving public art. Rather than maintaining them in situ as an integral part of the streetscape, the emphasis moved towards controlled, institutional preservation. This change, driven by the bank’s disengagement from the building and the imperative to secure the artworks’ future, prioritises academic and conservation value over continuous public accessibility in the original urban context. While museum care undoubtedly ensures the long-term survival and scholarly appreciation of the pieces, it fundamentally alters the context of public access. The art transitions from a freely encountered, daily urban landmark to a curated museum exhibit, transforming the spontaneous, unmediated interaction the public had with them as part of the streetscape. This highlights a dynamic tension inherent in the stewardship of public art: balancing the imperative of physical preservation with the desire to maintain the artwork’s original public function and immediate accessibility.

  1. The Arrival of Veks van Hillik’s ‘Salmon of Knowledge’ Mural

This section introduces the new artwork that now graces the former Ulster Bank building, detailing its characteristics, the artist, and the context of its commission.

3.1 A New Vision for the Facade

The former Ulster Bank building’s southern gable wall is now adorned with a striking mural by French street artist Veks van Hillik. This impressive artwork measures approximately 80m², establishing it as one of the largest murals in Belfast and ensuring a significant visual impact within the urban landscape.  

The mural draws its thematic inspiration from the legendary Irish tale of the Salmon of Knowledge. It depicts a nine-eyed fish, serving as a powerful symbol of wisdom and insight. This new theme stands in stark contrast to the financial connotations of the previous sculptures’ affectionate nicknames, ‘Draft and Overdraft’, signifying a notable shift in the building’s public narrative. Veks van Hillik’s artistic style is distinctive, drawing from the techniques of Flemish painters of past centuries, such as Jan van Eyck. His aim is to transport viewers into an “enchanting surreality”, and the mural notably incorporates landscapes from his native Provence-Alpes-Côte d’Azur region of France, blending local Irish myth with an international artistic perspective.  

To summarise the key details of the public art at Shaftesbury Square:

Elisabeth Frink’s ‘Flying Figures’, installed in 1964, were two aluminium ‘Airborne Men’ commissioned by Houston & Beaumont, the Arts Council of Northern Ireland, and Ulster Bank. They were located on the southern gable wall of the former Ulster Bank building and were affectionately known as ‘Draft and Overdraft’. These sculptures have since been gifted to National Museums NI and plans are in development for their display at the Ulster Museum.  

In contrast, Veks van Hillik’s ‘Salmon of Knowledge’ Mural was installed in 2024 as part of the Hit the North 2024 festival. This mural, also located on the southern gable wall of the former Ulster Bank building, depicts a nine-eyed fish, symbolising wisdom and insight. It measures approximately 80m² and was commissioned by the Linen Quarter BID and the Hit the North 2024 festival. The mural is currently installed and visible on the building façade.  

The replacement of the ‘Draft and Overdraft’ sculptures, which symbolised finance, with a mural depicting the ‘Salmon of Knowledge’, representing wisdom and insight, is a profound symbolic re-narration of the building’s public identity. The previous artwork was intrinsically linked to the building’s function as a bank, reflecting its commercial purpose. The new mural, with its theme rooted in Irish folklore and the pursuit of knowledge, suggests a deliberate shift in the message conveyed by this prominent public space. This change, commissioned by the Linen Quarter BID, aligns with broader urban regeneration efforts to cultivate a diverse and culturally rich district, moving beyond purely commercial associations. This transformation signifies a conscious effort to redefine the public perception of Shaftesbury Square and the Linen Quarter, fostering an environment that speaks to intellectual and cultural enrichment rather than solely transactional activity.

3.2 The Artist and Commissioning Context

Veks van Hillik, the artist behind the new mural, was born in 1988 in Southwest France and currently lives and works in Toulouse. He has cultivated a lifelong passion for drawing, with nature, particularly fauna and flora, serving as his primary source of inspiration. Recognised as a renowned artist within the Lowbrow movement, his distinctive style is shaped by a diverse range of influences. These include classical masters such as Gustave Doré, Ingres, Caravaggio, and Dali, as well as the more contemporary realms of pop culture, video games, comics, and tattoos. His work is often characterised by a surreal touch, blending “candor and blackness”. Veks van Hillik has exhibited his art widely, both in France and internationally, with shows in Italy, Brooklyn (United States), and Melbourne (Australia).  

The ‘Salmon of Knowledge’ mural was commissioned by the Linen Quarter BID (Business Improvement District). It was installed as a key component of the Hit the North 2024 festival, an annual street art festival that plays a crucial role in nurturing and developing Northern Ireland’s vibrant street art industry. Celebrating its 12th anniversary in 2024, the Hit the North festival has attracted over 200 artists from across the UK, Ireland, and internationally, contributing significantly to broader rejuvenation efforts within Belfast City Centre.  

The commissioning of a large-scale mural by the Linen Quarter BID as part of the Hit the North festival highlights a significant trend in contemporary urban development. Business Improvement Districts, traditionally focused on commercial improvements and safety, are increasingly leveraging public art as a strategic tool for urban regeneration. This approach reflects a growing recognition that vibrant public art enhances the attractiveness, cultural identity, and economic vitality of a district, drawing in both residents and visitors. The integration with a well-established event like the Hit the North festival, which fosters local artistic development and brings international talent, demonstrates a collaborative and dynamic approach to placemaking. This indicates a strategic shift from traditional, often static, public monuments to more dynamic, contemporary, and sometimes ephemeral forms of public art like murals. This allows urban spaces to function as continuously evolving canvases that engage with current artistic trends and community narratives, contributing to a more lively and culturally rich city centre.  

  1. The Building’s Shifting Identity and Ownership

This section traces the evolution of the building itself, from its original banking function to its current and proposed future uses, while addressing the complex question of its current ownership.

4.1 From Banking Headquarters to Community Hub

The building at Shaftesbury Square, also identified by its address at 136-142 Great Victoria Street, was purpose-built as the Shaftesbury Square branch of Ulster Bank, officially opening its doors in 1964. The bank occupied the ground floor, with office spaces situated on the floors above. This site has a history of transformation even before the bank, having previously housed the Shaftesbury Arcade from approximately 1930 to 1963, and prior to that, the Magdalene School House.  

The Ulster Bank branch ceased its operations and closed on 14th June 2013. Following the bank’s closure, the building underwent initial changes to accommodate new uses. In October 2015, Ulster Bank Ltd submitted a planning application (LA04/2015/1274/F) proposing the conversion of the ground floor from a bank to office space (Class B1(a) Business use), which received approval in March 2016.  

More recently, in January 2025, Street Soccer NI submitted a significant planning application (LA04/2025/0035/F) proposing a substantial repurposing of the building. Their plans include converting the ground floor office space into a retail area, specifically a charity shop, and a community drop-in centre. Furthermore, they propose transforming the first and second floors from office space into dedicated community use areas, incorporating classrooms, game areas, and social spaces. This proposed trajectory, from a dedicated financial institution to offices and now with plans for a charity shop and community centre, illustrates a significant urban trend: the repurposing of former commercial or financial spaces for community-oriented uses. This transformation reflects both changing economic landscapes, such as the decline of traditional high-street banking, and a growing demand for accessible community resources within city centres. The shift from a private financial institution to a public-facing community hub represents a democratisation of urban space, contributing to making city centres more inclusive and resilient by adapting to new social needs.  

4.2 Current Ownership Status

Ulster Bank sold the building in 2009. However, following this sale, the bank took back a lease of the entire structure and, crucially, retained ownership of the ‘Flying Figures’ sculptures to help protect and preserve them. This arrangement continued until August 2023, at which point Ulster Bank formally ended its connection with the building.  

While Ulster Bank’s divestment from the building in 2009 is clearly documented, the precise identity of the current owner of the building is not explicitly stated in the provided research material. The planning application submitted by Street Soccer NI in January 2025, detailing their extensive plans for community and retail use, suggests they are either the new owners or significant long-term tenants with substantial plans for the property. However, the submission of a planning application does not definitively confirm ownership. This gap in readily available information, despite details about subsequent planning applications, highlights a common challenge in public research: while major transactional events are noted, the specific entity that acquired a commercial property may not always be immediately apparent in general public-facing information or news articles. To definitively ascertain the current registered owner, one would typically need to consult the Land Registry for Northern Ireland, which maintains records of land, houses, and properties, or the Public Record Office of Northern Ireland (PRONI) for older records. This suggests that while the functional and artistic transformations of a building are often public knowledge, the precise details of its ownership can remain private or require specific official inquiries.  

  1. Conclusion: A Dynamic Urban Canvas

The former Ulster Bank building in Shaftesbury Square stands as a compelling case study of Belfast’s evolving urban fabric and its relationship with public art. The departure of Elisabeth Frink’s ‘Flying Figures’ marks the end of an era for a beloved landmark, transitioning from corporate patronage to national museum custodianship. This move, driven by the imperative of preservation and Ulster Bank’s disengagement, ensures the artworks’ longevity and continued public access, albeit in a new, institutional context. This reflects a mature understanding of public art’s cultural significance beyond its original commercial setting.

In its place, Veks van Hillik’s ‘Salmon of Knowledge’ mural heralds a new chapter, showcasing the dynamic and often ephemeral nature of contemporary street art. Commissioned by the Linen Quarter BID as part of the vibrant Hit the North festival, this mural embodies a shift towards art as a strategic tool for urban regeneration and community engagement, blending local folklore with international artistic influences. This transformation underscores a conscious effort to redefine the area’s identity, moving from a purely commercial hub to a place of cultural richness and intellectual aspiration.

Concurrently, the building itself is undergoing a significant transformation, moving from a banking facility to proposed community and retail spaces. This repurposing is indicative of broader trends in urban development, where former commercial properties are adapted to serve evolving social needs, contributing to more inclusive and resilient city centres. While the definitive current owner is not explicitly named in the available public information, the involvement of organisations like Street Soccer NI signals a future focused on social and community benefit.

Together, these changes illustrate Belfast’s continuous reinvention, where public spaces serve as dynamic canvases for artistic expression and reflect the city’s adaptability to changing economic and social landscapes. The site at Shaftesbury Square remains a vibrant testament to Belfast’s rich cultural heritage and its forward-looking urban development.

INDUSTRIAL HOMAGE BY NED JACKSON SMYTH AT PORTVIEW TRADE CENTRE

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THE STREETS OF BELFAST
THE STREETS OF BELFAST
INDUSTRIAL HOMAGE BY NED JACKSON SMYTH AT PORTVIEW TRADE CENTRE
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BELFAST MAY 2025

The presence of “Industrial Homage” by Ned Jackson Smyth at the Portview Trade Centre in Belfast is a compelling intersection of art, history, and urban regeneration. This Corten steel sculpture, installed in March 2019, serves as a significant visual and symbolic anchor for the site, particularly for the Creative Exchange Artists’ Studios housed within.

The Genesis of “Industrial Homage”

Ned Jackson Smyth, a contemporary artist, has created a piece that directly references the profound industrial legacy of its location. The choice of Corten steel is deliberate and highly appropriate. This material, also known as weathering steel, develops a stable, rust-like appearance over time. This natural patina not only provides a unique aesthetic but also speaks to the passage of time, the elements, and the enduring nature of industrial structures. The process of weathering itself mirrors the transformation of the mill from a bustling industrial enterprise to a new hub for creativity and enterprise.

While specific artistic interpretations of “Industrial Homage” by Ned Jackson Smyth are best found from the artist’s own statements or exhibition materials, the title itself strongly suggests a reverence for the past. It’s a “homage” – a tribute – to the industry, the innovation, and the labour that defined the site for decades.

The Historical Context: From Flax to Future

To fully appreciate “Industrial Homage,” one must understand the rich history of the Portview Trade Centre.

The Strand Spinning Mill (Early 1900s – 1983): The building that now houses the Portview Trade Centre began its life in the early 1900s as the Jaffe Spinning Mill, built by Sir Otto Jaffe, a notable local businessman and philanthropist. It was quickly acquired by James Mackie & Sons and became the Strand Spinning Company. In its heyday, this mill was a colossal enterprise, renowned as the largest flax tow spinning mill in the world. It was a global centre of innovation, marrying traditional textile skills with cutting-edge technology. During World War II, with flax supplies disrupted, Mackies adapted the machinery to spin synthetic viscose fibres, pioneering new manufacturing processes in Northern Ireland in collaboration with Courtaulds. The mill was a vibrant and central part of the East Belfast community, employing thousands, predominantly women, and contributing significantly to the city’s industrial prowess. The northern end of the building suffered damage during the German Blitz bombing of Belfast in April 1941, leaving an 18-bay block never rebuilt.

Decline and Transformation (1980s onwards): The steady decline of the UK textile industry ultimately led to the closure of the Strand Spinning Mill at the end of 1983. However, the story of the site did not end there. In the 1980s, a group of forward-thinking individuals sought to reutilise the vast mill complex. It was reimagined and successfully transformed into the Portview Trade Centre, providing much-needed, usable workspaces for small businesses.

Portview Trade Centre Today: The Portview Trade Centre is now a dynamic multi-functional site, preserving its Grade B2 listed heritage while embracing the future. It has become a significant hub for diverse enterprises, including the Creative Exchange Artists’ Studios. This artistic community, established in 1996, has played a crucial role in contributing to the history, culture, and economy of the area. The studios provide a sustainable and inspiring environment for artists working in various mediums, fostering professional development and community engagement. Beyond the artists’ studios, Portview also houses other innovative businesses, such as Boundary Brewing and the “Banana Block” living museum and event space, further showcasing its reinvention as a vibrant centre of innovation and community.

The Sculpture’s Significance

“Industrial Homage” by Ned Jackson Smyth, standing at the Portview Trade Centre, is more than just a piece of art; it’s a powerful symbol:

A Bridge to the Past: The sculpture physically embodies the site’s rich industrial heritage, allowing visitors and tenants to connect with the immense scale and impact of the former Strand Spinning Mill. The Corten steel, with its rustic aesthetic, directly evokes the machinery and infrastructure of the industrial age.
A Symbol of Resilience and Adaptation: Just as the mill adapted from flax to viscose and then to a diverse trade centre, the sculpture’s material symbolises endurance and transformation. It acknowledges the challenges and closures of the past while celebrating the site’s successful regeneration.
An Artistic Statement in a Creative Hub: Its presence at the Portview Trade Centre, home to the Creative Exchange Artists’ Studios, underscores the building’s role as a contemporary artistic and creative space. It’s a reminder that art can find inspiration in history and that former industrial giants can become fertile ground for new forms of innovation.
Community Engagement: The sculpture, along with initiatives like the “Spinning Memories” archive at Portview, actively encourages the community to engage with their shared history and contribute to the ongoing narrative of East Belfast.

In essence, “Industrial Homage” by Ned Jackson Smyth is a beautifully apt tribute that bridges Belfast’s powerful industrial past with its vibrant, creative present, serving as a silent, weathered guardian of a truly remarkable site.

MOTHER, DAUGHTER, SISTER SCULPTURE BY LOUISE WALSH – SANDY ROW BELFAST

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PHOTOGRAPHED USING A LEICA Q3

Louise Walsh’s Sculptures: Celebrating Women in Belfast

Louise Walsh is an acclaimed Northern Irish artist renowned for her evocative public sculptures that consistently challenge traditional narratives and celebrate the often-unacknowledged contributions of women to society. Two of her most significant works, “Mother, Daughter, Sister” and “Monument to the Unknown Woman Worker” (often referred to as “Working Women”), are prominently located in Belfast, each offering a poignant tribute to female resilience and their pivotal role in community life.

“Mother, Daughter, Sister” (2010)

Located in Sandy Row, a historic and predominantly loyalist working-class area of Belfast, “Mother, Daughter, Sister” is a bronze sculpture depicting a single female figure. This solitary form powerfully embodies the multiple, often interweaving, roles a woman fulfils within her family and community: as a mother, a daughter, and a sister.

The sculpture’s strength lies in its quiet dignity and reflective pose, representing the steadfastness and quiet fortitude of women who have sustained families and communities through challenging times, particularly during the period of the Troubles. It’s a profound recognition of the often-unseen burdens and strengths carried by women, offering a counter-narrative to the area’s male-dominated, politically charged history. By focusing on the enduring human spirit and the fabric of community life, the artwork highlights the resilience that persisted despite extraordinary circumstances, symbolising hope and continuity.

“Monument to the Unknown Woman Worker” (1992)

Situated on Great Victoria Street, adjacent to the iconic Europa Hotel in Belfast, “Monument to the Unknown Woman Worker” (also known as “Working Women”) is another powerful work by Louise Walsh. This sculpture features two working-class women engaged in conversation, their figures interwoven with symbolic representations of women’s labour.

The bronze surfaces of the sculpture are etched and integrated with various domestic and professional items: colanders, shopping baskets, clothes pegs, a typewriter, and a telephone. These details reflect the vast spectrum of work, both paid and unpaid, that women undertake, often without formal recognition. Unveiled in 1992, this piece was an early and significant public art statement by Walsh, foregrounding the diverse contributions of women to the economic and social fabric of Belfast. It stands as a powerful testament to the unsung heroines of everyday life, whose efforts are fundamental to society’s functioning.

Louise Walsh’s Artistic Vision:

Both sculptures exemplify Louise Walsh’s artistic vision. Her work is characterised by its figurative nature, exploring themes of identity, memory, and social history within the Northern Irish context. She creates pieces that are both accessible and thought-provoking, inviting viewers to reflect on their own lives and connections. Walsh’s style combines realism with a contemplative quality, ensuring her sculptures resonate deeply on an emotional level. Through her art, she consistently gives voice and visibility to the experiences of women, enriching Belfast’s public spaces with works that celebrate the enduring strength and vital contributions of its female population.

ROWAN GILLESPIE’S TITANICA

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TITANIC BELFAST VISITOR ATTRACTION

Titanica: A Symbol of Hope and Legacy

This powerful sculpture, titled Titanica, depicts a diving female figure gracefully mounted on a slender base. Standing at life-size and weighing an impressive three-quarters of a ton, it commands a significant presence.

The artwork draws profound inspiration from the traditional figureheads that once adorned the prows of sailing ships, connecting it directly to maritime history and the age of grand voyages. However, Titanica’s purpose goes deeper than mere nautical homage. It was specifically created to embody hope and positivity, particularly in relation to the poignant Titanic story and Belfast’s enduring shipbuilding legacy.

Adding another layer of interpretation, the sculpture’s design subtly incorporates a cruciform shape when viewed from the front. This deliberate artistic choice allows for deeper contemplation of the interconnected themes of death and life, acknowledging the tragedy of the Titanic while still emphasizing resilience and renewal.

The Artist: Rowan Gillespie

Titanica is the masterful creation of Rowan Gillespie, a highly respected and renowned Irish sculptor. Gillespie is celebrated for his compelling and often haunting bronze figures that frequently grace public spaces, evoking strong emotional responses. He dedicated 12 months to the creation of Titanica, a testament to his commitment to the piece. Gillespie has openly expressed his profound honor at having his work displayed in front of Titanic Belfast, a location he found immensely inspiring throughout the creative process.

WINIFRED CARNEY MEMORIAL AT BELFAST CITY HALL

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THE STREETS OF BELFAST
THE STREETS OF BELFAST
WINIFRED CARNEY MEMORIAL AT BELFAST CITY HALL
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PHOTOGRAPHED IN MAY 2025 USING A FUJI GFX100RF

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.