THE MURALS AND MOSAICS AT BRAY DALY TRAIN STATION
THE MURALS AND MOSAICS AT BRAY DALY TRAIN STATION [PHOTOGRAPHED 7 MAY 2025]
The Murals and Mosaics of Bray Daly Station: A Historical Overview
Bray Daly Railway Station, situated in County Wicklow, Ireland, serves as a vital transportation link for the town, conveniently located near the seafront and a short distance from the main street. Beyond its functional role, the station is distinguished by a notable series of artworks located on platform 2. These began as painted murals and were later transformed into mosaics, becoming a distinctive element for commuters and visitors alike. This blog post aims to explore the history of this public art installation, tracing its origins, identifying the artists involved, examining the reasons behind its transformation, and considering the continuity of the artwork across its different forms.
The story of the public art at Bray Daly Station commenced in 1987 with a competition initiated by the Bray Community Arts Group. This local organisation, dedicated to promoting artistic activity and advocating for enhanced cultural facilities, sponsored the contest to design murals that would enhance the station platforms.
The winning proposal, selected by popular vote, came from Jay Roche and John Carter, who were students at the time at Dún Laoghaire College of Art. Their creation comprised nineteen individual panels, each depicting a moment in the history of the station and its surrounding area, spanning from the station's opening in 1854 up to the 1980s.
The historical narrative woven through these paintings connected the artwork directly to the heritage of the railway line and the local community, offering an engaging visual experience for those using the station. The scenes portrayed a diverse range of subjects, including significant historical events, various modes of transport that have served the station over the decades, and depictions of notable Irish figures such as Oscar Wilde and James Joyce. The involvement of a community arts group in commissioning the murals underscores the value placed on public art by the local residents, reflecting a desire to enrich the everyday environment of the station. Furthermore, the selection of art students for such a substantial project suggests a community ethos of supporting emerging artistic talent and integrating art into public spaces. The historical focus of the murals served not merely as decoration but also as a visual chronicle of the station's and the region's past, fostering a sense of connection to local history. The inclusion of well-known personalities added another layer of interest and cultural resonance to the artwork, potentially broadening its appeal to a wider audience.
Over time, the original painted murals began to suffer from the effects of wear and environmental exposure. The station's coastal location in Bray meant the artwork was particularly vulnerable to the corrosive effects of the briny sea air. Additionally, issues such as lime seeping through the plaster walls of the platform contributed to the degradation of the paintings.
By approximately 2010, the murals had deteriorated significantly, necessitating a solution to preserve the artistic and historical value of the installation. To address this, a decision was made to replace the fading murals with mosaics, a medium known for its durability and lower maintenance requirements in public spaces. This choice reflected a practical approach to ensuring the longevity of the artwork in an environment subject to environmental stressors and high levels of public use. The timeframe between the initial commissioning in 1987 and the significant deterioration observed around 2010 indicates the typical lifespan of painted murals in such conditions, highlighting the challenges inherent in maintaining public art in exposed locations. The selection of mosaics as the replacement medium demonstrated a commitment to long-term preservation, learning from the experiences with the original paintings.
The task of transforming the murals into mosaics was undertaken by the original artists, Jay Roche and John Carter, who had since established a company named Triskill Design. Their continued involvement in the project ensured a degree of artistic continuity and a deep understanding of the original vision behind the artwork. Their professional development into Triskill Design suggests an ongoing dedication to the creation and preservation of public art. Assisting them in this significant undertaking were Anthony Kelly and Eileen Maguire.
This collaborative effort highlights the scale of the project and the need for diverse expertise in the intricate medium of mosaic art. The mosaic replacement programme commenced in 2008 , marking the beginning of a long-term commitment to the preservation of the public art at the station.
The conversion of each of the nineteen mural panels into a mosaic was a considerable undertaking, involving significant time, skill, and financial resources. The associated costs of this transformation likely necessitated careful planning and potentially external funding or sponsorship to support the project's completion. The decision to entrust the original artists with the replacement project underscored the value of their initial work and their continued expertise, ensuring the artistic integrity of the installation. The collaborative nature of the mosaic project further highlights the complexity and scale involved in converting nineteen large-scale murals into a more durable medium.
While the tiled mosaics are based on the themes and imagery of the original painted murals, they are not exact replicas. The artists adapted the designs to effectively utilise the characteristics of the mosaic medium, acknowledging the distinct aesthetic and technical possibilities offered by tiles compared to paint. This suggests a creative approach to the conversion, where the artists considered how the use of small tiles could enhance or reinterpret the original imagery. The artists themselves have noted that they respected the variations that the change of medium necessitated , indicating that the mosaics represent a reinterpretation rather than a direct transfer of the original designs. During the period of transition, some of the original paintings remained visible alongside the newly installed mosaics. This coexistence provided a unique opportunity for observers to compare the two forms of artwork and to witness the transformation process firsthand. This transitional phase offered a valuable insight into the evolution of the artwork and the different visual impacts of the two mediums.
In conclusion, the public art at Bray Daly Station stands as a testament to community initiative, artistic dedication, and the evolving nature of public art. Beginning with the painted murals commissioned in 1987 from emerging artists Jay Roche and John Carter, the artwork documented the rich history of the station and its surroundings. The subsequent deterioration of the murals due to environmental factors led to a significant preservation effort, with the original artists, now leading Triskill Design and assisted by Anthony Kelly and Eileen Maguire, undertaking the ambitious project of replacing the paintings with durable mosaic versions, a programme that commenced in 2008.
While the mosaics are inspired by the original designs, they represent an artistic adaptation to a new medium, ensuring the longevity of this significant community asset for the enjoyment of future generations of commuters and visitors. The artwork continues to serve as a visual narrative of Irish and railway history, contributing significantly to the cultural identity of Bray Daly Station.
Bray Daly Station, murals, mosaics, public art, railway station, Irish history, railway history, Jay Roche, John Carter, Anthony Kelly, Eileen Maguire, commissioning, deterioration, replacement, Triskill Design, 1987, 2008, platform 2, County Wicklow, William Murphy, Infomatique, Photonique, Sony FX30, Sony FE 70-200 F4 GII Lens,
The Murals and Mosaics of Bray Daly Station: A Historical Overview
Bray Daly Railway Station, situated in County Wicklow, Ireland, serves as a vital transportation link for the town, conveniently located near the seafront and a short distance from the main street. Beyond its functional role, the station is distinguished by a notable series of artworks located on platform 2. These began as painted murals and were later transformed into mosaics, becoming a distinctive element for commuters and visitors alike. This blog post aims to explore the history of this public art installation, tracing its origins, identifying the artists involved, examining the reasons behind its transformation, and considering the continuity of the artwork across its different forms.
The story of the public art at Bray Daly Station commenced in 1987 with a competition initiated by the Bray Community Arts Group. This local organisation, dedicated to promoting artistic activity and advocating for enhanced cultural facilities, sponsored the contest to design murals that would enhance the station platforms.
The winning proposal, selected by popular vote, came from Jay Roche and John Carter, who were students at the time at Dún Laoghaire College of Art. Their creation comprised nineteen individual panels, each depicting a moment in the history of the station and its surrounding area, spanning from the station's opening in 1854 up to the 1980s.
The historical narrative woven through these paintings connected the artwork directly to the heritage of the railway line and the local community, offering an engaging visual experience for those using the station. The scenes portrayed a diverse range of subjects, including significant historical events, various modes of transport that have served the station over the decades, and depictions of notable Irish figures such as Oscar Wilde and James Joyce. The involvement of a community arts group in commissioning the murals underscores the value placed on public art by the local residents, reflecting a desire to enrich the everyday environment of the station. Furthermore, the selection of art students for such a substantial project suggests a community ethos of supporting emerging artistic talent and integrating art into public spaces. The historical focus of the murals served not merely as decoration but also as a visual chronicle of the station's and the region's past, fostering a sense of connection to local history. The inclusion of well-known personalities added another layer of interest and cultural resonance to the artwork, potentially broadening its appeal to a wider audience.
Over time, the original painted murals began to suffer from the effects of wear and environmental exposure. The station's coastal location in Bray meant the artwork was particularly vulnerable to the corrosive effects of the briny sea air. Additionally, issues such as lime seeping through the plaster walls of the platform contributed to the degradation of the paintings.
By approximately 2010, the murals had deteriorated significantly, necessitating a solution to preserve the artistic and historical value of the installation. To address this, a decision was made to replace the fading murals with mosaics, a medium known for its durability and lower maintenance requirements in public spaces. This choice reflected a practical approach to ensuring the longevity of the artwork in an environment subject to environmental stressors and high levels of public use. The timeframe between the initial commissioning in 1987 and the significant deterioration observed around 2010 indicates the typical lifespan of painted murals in such conditions, highlighting the challenges inherent in maintaining public art in exposed locations. The selection of mosaics as the replacement medium demonstrated a commitment to long-term preservation, learning from the experiences with the original paintings.
The task of transforming the murals into mosaics was undertaken by the original artists, Jay Roche and John Carter, who had since established a company named Triskill Design. Their continued involvement in the project ensured a degree of artistic continuity and a deep understanding of the original vision behind the artwork. Their professional development into Triskill Design suggests an ongoing dedication to the creation and preservation of public art. Assisting them in this significant undertaking were Anthony Kelly and Eileen Maguire.
This collaborative effort highlights the scale of the project and the need for diverse expertise in the intricate medium of mosaic art. The mosaic replacement programme commenced in 2008 , marking the beginning of a long-term commitment to the preservation of the public art at the station.
The conversion of each of the nineteen mural panels into a mosaic was a considerable undertaking, involving significant time, skill, and financial resources. The associated costs of this transformation likely necessitated careful planning and potentially external funding or sponsorship to support the project's completion. The decision to entrust the original artists with the replacement project underscored the value of their initial work and their continued expertise, ensuring the artistic integrity of the installation. The collaborative nature of the mosaic project further highlights the complexity and scale involved in converting nineteen large-scale murals into a more durable medium.
While the tiled mosaics are based on the themes and imagery of the original painted murals, they are not exact replicas. The artists adapted the designs to effectively utilise the characteristics of the mosaic medium, acknowledging the distinct aesthetic and technical possibilities offered by tiles compared to paint. This suggests a creative approach to the conversion, where the artists considered how the use of small tiles could enhance or reinterpret the original imagery. The artists themselves have noted that they respected the variations that the change of medium necessitated , indicating that the mosaics represent a reinterpretation rather than a direct transfer of the original designs. During the period of transition, some of the original paintings remained visible alongside the newly installed mosaics. This coexistence provided a unique opportunity for observers to compare the two forms of artwork and to witness the transformation process firsthand. This transitional phase offered a valuable insight into the evolution of the artwork and the different visual impacts of the two mediums.
In conclusion, the public art at Bray Daly Station stands as a testament to community initiative, artistic dedication, and the evolving nature of public art. Beginning with the painted murals commissioned in 1987 from emerging artists Jay Roche and John Carter, the artwork documented the rich history of the station and its surroundings. The subsequent deterioration of the murals due to environmental factors led to a significant preservation effort, with the original artists, now leading Triskill Design and assisted by Anthony Kelly and Eileen Maguire, undertaking the ambitious project of replacing the paintings with durable mosaic versions, a programme that commenced in 2008.
While the mosaics are inspired by the original designs, they represent an artistic adaptation to a new medium, ensuring the longevity of this significant community asset for the enjoyment of future generations of commuters and visitors. The artwork continues to serve as a visual narrative of Irish and railway history, contributing significantly to the cultural identity of Bray Daly Station.
Bray Daly Station, murals, mosaics, public art, railway station, Irish history, railway history, Jay Roche, John Carter, Anthony Kelly, Eileen Maguire, commissioning, deterioration, replacement, Triskill Design, 1987, 2008, platform 2, County Wicklow, William Murphy, Infomatique, Photonique, Sony FX30, Sony FE 70-200 F4 GII Lens,
THE MURALS AND MOSAICS AT BRAY DALY TRAIN STATION