Details of Sectarian Murals | GARETH McCONNELL

Details of Sectarian Murals, 1998 – 2002

Mural painting in Northern Ireland has a long tradition and at the time of photographing they were generally used to display the ideologies of both the loyalist and republican communities. They were a familiar sight in the media, often used as a backdrop for the talking head of a journalist, super-star terrorist or politician. They continue to act as markers, not only of the political divide but also of the socio-economic boundaries. In post-conflict Northern Ireland the taxi drivers of Belfast conduct tours of them, perhaps part of the so called ‘terror tours’ which visit the sites of the various aberrations which occurred in the city. By photographing the murals in this manner I hoped to obliterate all objective evidence of what they where about, what political narrative they represented and where they where taken.

An except from an essay written by Shannon Matthews can be downloaded from selected texts.

close

You are now, 2002

Details of Sectarian Murals, 1998 – 2002

Mural painting in Northern Ireland has a long tradition and at the time of photographing they were generally used to display the ideologies of both the loyalist and republican communities. They were a familiar sight in the media, often used as a backdrop for the talking head of a journalist, super-star terrorist or politician. They continue to act as markers, not only of the political divide but also of the socio-economic boundaries. In post-conflict Northern Ireland the taxi drivers of Belfast conduct tours of them, perhaps part of the so called ‘terror tours’ which visit the sites of the various aberrations which occurred in the city. By photographing the murals in this manner I hoped to obliterate all objective evidence of what they where about, what political narrative they represented and where they where taken.

An except from an essay written by Shannon Matthews can be downloaded from selected texts.

close

The fools the fools, 2000

Details of Sectarian Murals, 1998 – 2002

Mural painting in Northern Ireland has a long tradition and at the time of photographing they were generally used to display the ideologies of both the loyalist and republican communities. They were a familiar sight in the media, often used as a backdrop for the talking head of a journalist, super-star terrorist or politician. They continue to act as markers, not only of the political divide but also of the socio-economic boundaries. In post-conflict Northern Ireland the taxi drivers of Belfast conduct tours of them, perhaps part of the so called ‘terror tours’ which visit the sites of the various aberrations which occurred in the city. By photographing the murals in this manner I hoped to obliterate all objective evidence of what they where about, what political narrative they represented and where they where taken.

An except from an essay written by Shannon Matthews can be downloaded from selected texts.

close

State murder, 2003

Details of Sectarian Murals, 1998 – 2002

Mural painting in Northern Ireland has a long tradition and at the time of photographing they were generally used to display the ideologies of both the loyalist and republican communities. They were a familiar sight in the media, often used as a backdrop for the talking head of a journalist, super-star terrorist or politician. They continue to act as markers, not only of the political divide but also of the socio-economic boundaries. In post-conflict Northern Ireland the taxi drivers of Belfast conduct tours of them, perhaps part of the so called ‘terror tours’ which visit the sites of the various aberrations which occurred in the city. By photographing the murals in this manner I hoped to obliterate all objective evidence of what they where about, what political narrative they represented and where they where taken.

An except from an essay written by Shannon Matthews can be downloaded from selected texts.

close

Spirit & intention, 2000

Details of Sectarian Murals, 1998 – 2002

Mural painting in Northern Ireland has a long tradition and at the time of photographing they were generally used to display the ideologies of both the loyalist and republican communities. They were a familiar sight in the media, often used as a backdrop for the talking head of a journalist, super-star terrorist or politician. They continue to act as markers, not only of the political divide but also of the socio-economic boundaries. In post-conflict Northern Ireland the taxi drivers of Belfast conduct tours of them, perhaps part of the so called ‘terror tours’ which visit the sites of the various aberrations which occurred in the city. By photographing the murals in this manner I hoped to obliterate all objective evidence of what they where about, what political narrative they represented and where they where taken.

An except from an essay written by Shannon Matthews can be downloaded from selected texts.

close

Rocket team, 1998

Details of Sectarian Murals, 1998 – 2002

Mural painting in Northern Ireland has a long tradition and at the time of photographing they were generally used to display the ideologies of both the loyalist and republican communities. They were a familiar sight in the media, often used as a backdrop for the talking head of a journalist, super-star terrorist or politician. They continue to act as markers, not only of the political divide but also of the socio-economic boundaries. In post-conflict Northern Ireland the taxi drivers of Belfast conduct tours of them, perhaps part of the so called ‘terror tours’ which visit the sites of the various aberrations which occurred in the city. By photographing the murals in this manner I hoped to obliterate all objective evidence of what they where about, what political narrative they represented and where they where taken.

An except from an essay written by Shannon Matthews can be downloaded from selected texts.

close

Hoods & housebreakers, 1999

Details of Sectarian Murals, 1998 – 2002

Mural painting in Northern Ireland has a long tradition and at the time of photographing they were generally used to display the ideologies of both the loyalist and republican communities. They were a familiar sight in the media, often used as a backdrop for the talking head of a journalist, super-star terrorist or politician. They continue to act as markers, not only of the political divide but also of the socio-economic boundaries. In post-conflict Northern Ireland the taxi drivers of Belfast conduct tours of them, perhaps part of the so called ‘terror tours’ which visit the sites of the various aberrations which occurred in the city. By photographing the murals in this manner I hoped to obliterate all objective evidence of what they where about, what political narrative they represented and where they where taken.

An except from an essay written by Shannon Matthews can be downloaded from selected texts.

close

For evermore, 2003

Details of Sectarian Murals, 1998 – 2002

Mural painting in Northern Ireland has a long tradition and at the time of photographing they were generally used to display the ideologies of both the loyalist and republican communities. They were a familiar sight in the media, often used as a backdrop for the talking head of a journalist, super-star terrorist or politician. They continue to act as markers, not only of the political divide but also of the socio-economic boundaries. In post-conflict Northern Ireland the taxi drivers of Belfast conduct tours of them, perhaps part of the so called ‘terror tours’ which visit the sites of the various aberrations which occurred in the city. By photographing the murals in this manner I hoped to obliterate all objective evidence of what they where about, what political narrative they represented and where they where taken.

An except from an essay written by Shannon Matthews can be downloaded from selected texts.

close

Dark days, 2001

Details of Sectarian Murals, 1998 – 2002

Mural painting in Northern Ireland has a long tradition and at the time of photographing they were generally used to display the ideologies of both the loyalist and republican communities. They were a familiar sight in the media, often used as a backdrop for the talking head of a journalist, super-star terrorist or politician. They continue to act as markers, not only of the political divide but also of the socio-economic boundaries. In post-conflict Northern Ireland the taxi drivers of Belfast conduct tours of them, perhaps part of the so called ‘terror tours’ which visit the sites of the various aberrations which occurred in the city. By photographing the murals in this manner I hoped to obliterate all objective evidence of what they where about, what political narrative they represented and where they where taken.

An except from an essay written by Shannon Matthews can be downloaded from selected texts.

close

Cemented with love, 2002

Details of Sectarian Murals, 1998 – 2002

Mural painting in Northern Ireland has a long tradition and at the time of photographing they were generally used to display the ideologies of both the loyalist and republican communities. They were a familiar sight in the media, often used as a backdrop for the talking head of a journalist, super-star terrorist or politician. They continue to act as markers, not only of the political divide but also of the socio-economic boundaries. In post-conflict Northern Ireland the taxi drivers of Belfast conduct tours of them, perhaps part of the so called ‘terror tours’ which visit the sites of the various aberrations which occurred in the city. By photographing the murals in this manner I hoped to obliterate all objective evidence of what they where about, what political narrative they represented and where they where taken.

An except from an essay written by Shannon Matthews can be downloaded from selected texts.

close

An illusion, 1998