AboutThisNewMuralInBelfast

FLYING FIGURES SCULPTURE BY ELISABETH FRINK HAVE BEEN REPLACED BY THE SALMON OF KNOWLEDGE [BELFAST MAY 2025]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

2. 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.

3. 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.  

4. 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.  

5. 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.