Gabar, any member of the small Zoroastrian minority in Iran. The name Gabar was formerly applied derogatorily to the Iranian Zoroastrians.
Simon Carman lives and works in County Fermanagh. As well as producing his own work, Carman is well recognised for his casting and carving skills and is often called upon to fabricate work for some of the country’s most recognised artists.
ABSTRACT BY FRED ROCHFORD [SCULPTURE IN CONTEXT 2014]
Sculpture In Context 2014 at the National Botanic Gardens, Glasnevin, Dublin 9. 4th September to 17th October 2014
Sculpture in Context was established in 1985 to raise the profile of sculpture and provide a platform for artists outside the normal gallery context. It is a not for profit organisation run by sculptors. The exhibition was founded by Cliodna Cussen, Colm Brennan and Gerard Cox and originated in Fernhill Gardens where it ran for 10 years. Since then it has been hosted in the Conrad Hotel, Malahide Castle, Kilmainham Gaol, the Irish Management Institute, Dublin Castle, Farmleigh House and since 2002 has been held in the magnificent National Botanic Gardens.
Sculpture in Context promotes artists and creates opportunities for practicing artists to exhibit their works in a wider public arena. The organisation has provided much needed opportunities for Irish and Non-Irish sculptors in Ireland.
This was photographed using a Sony NEX-7 which was an early mirrorless camera by Sony.
Windmill Lane Recording Studios (earlier Windmill Lane Studios) is a recording studio in Dublin, Ireland. It was originally opened in 1978 by recording engineer Brian Masterson in premises at 22 Windmill Lane, and it subsequently relocated to its current location in a three-storey building at 20 Ringsend Road, Dublin 4, where it still operates as one of Ireland’s largest recording studios.
Over the course of its history, it has been used by many notable artists. The original site of the Windmill Lane Studios remained a popular cult symbol for music fans due to the studio’s links with the Irish rock group U2; the group’s albums to have been fully or partially recorded there include Boy, October, War, The Joshua Tree, Pop, All That You Can’t Leave Behind, and Zooropa.
The original studio buildings were covered in graffiti from fans, who had paid pilgrimage from all over the world, many attracted by the studio’s historical connection with U2. The original location of the studios were recommended as a tourist attraction by publications such as The New York Times in 2008.
The Windmill Lane site was purchased by property company Hibernia REIT in 2015, who announced in 2014 that it had purchased the loans held against the Hanover Building on Windmill Lane, Dublin, for €20.16 million and an adjoining one acre development site for €7.5 million. A plan was made to develop it into offices, retail spaces and residential units.
The original Windmill Lane Studios structure was demolished on 3 April 2015. The firm announced plans to retain a 20-metre stretch of the studio wall famous for its fan graffiti. Options for the future of the wall include recreating the wall in the atrium of the new Windmill Lane building, giving the wall to Dublin City Council, U2 or any other interested party for reconstruction or reuse in an alternative setting.
I don’t actually know what happened to the wall but I was there during the demolition and am convinced that much if not all of it was destroyed.
THE DRUMMER BY BARRY FLANAGAN AT TH IRISH MUSEUM OF MODERN ART 10-JULY-2013
This was photographed using a Sony NEX-7 which was an early mirrorless camera by Sony.
The Drummer’ by Barry Flanagan, was unveiled in the grounds at IMMA on Thursday 22 February 2001. The work – a 15ft-high bronze sculpture of a lively drumming hare – was donated to the Museum by the artist and is situated outside the main entrance.
‘The Drummer’ characterises Barry Flanagan’s series of hare sculptures which have formed a large part of his work from the early 1980s to the present day. Flanagan’s hares are spectacular in size and convey an extraordinary spontaneity and naturalness. There is nothing repetitive in his use of a single theme; each hare is extremely individualistic and dynamic. Many portray human attributes – dancing, playing instruments, engaging in sports and even using technical equipment. In addition to his emblematic hare sculptures, Flanagan’s work also includes ceramic pieces, abstract sculptures, drawings in ink and pencil, water-colours and collages on paper in a wide range of subject matter including life studies, animals and abstract shapes.
In 2013 I read the following in the Sunday Times: “A sculpture greeting visitors to the Irish Museum of Modern Art (Imma) for more than a decade was originally destined for Aras an Uachtarain but was turned down by Mary McAleese because the artist was not Irish, according to a new book.” He is from Wales.
The Gasworks distinctive funnel and clock tower mark the place where the city’s gas-making industry began production in the 19th century. The area offers a quiet place to escape from the bustle of the nearby city centre and makes an ideal starting point for a pleasant walk or cycle along the River Lagan towards Donegall Quay or upstream towards the Lagan Towpath and Lagan Valley Regional Park.
Gasworks has been the site of Belfast’s gas-making industry since the 19th century. The site, built on ground owned by the Marquis of Donegall, opened in 1822 and supplied gas for street lighting and domestic and industrial use.
Belfast Corporation (now the Belfast City Council) used their profits from the gas industry to pay for the construction of Belfast City Hall, which opened in 1906.
By the end of World War II in 1945, around 120,000 people were using gas from the Gasworks site. However, by the 1960s, demand declined as new technologies began to emerge and production finally stopped altogether in 1985.
The Gasworks site was purchased by the council, together with central government and the Laganside Corporation, in the early 1990s. The land was considered unsuitable for most uses, due to contamination, but a major refurbishment programme, part-funded by the European Union, soon turned the area into a modern business park.
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