Take These Seeds

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A Ukrainian woman in Heniches’k (just north of Crimea) (tw | with subtitles) became famous for berating an invading Russian soldier with the words “Take these seeds and put them in your pockets so at least sunflowers will grow here when you all die here.” Ukraine is the world’s largest producer of sunflower oil (WP) and since the Russian invasion began on February 24th, prices have increased – so far – by about 70% (Money Control), sending countries (especially India – Reuters | Bloomberg) and companies around the globe scrambling for alternatives, such as the replacement of sunflower oil by rapeseed oil in the making of crisps in Ireland (The Journal). The sunflower has become a symbol of solidarity with Ukraine, along with the Ukrainian flag. This giant sunflower was painted by emic (web | tw | ig) in Harrow Street.

Update: added to the side wall “Ar scáth a chéıle a mhaıreann na daoıne”, here translated as “People live in each other’s shadows.”

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The Blots On The Page Are So Black

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In a letter in 1859 to Dr Richard Madden, a fellow abolitionist (and historian of the United Irishmen), Mary Ann McCracken wrote, “America, considered the land of the great, the brave, may more properly be styled the land of the tyrant and the Slave.” (McNeill)

Also given an abolitionist bent are some lines from section 16 of Louis MacNeice’s Autumn Journal, describing Belfast as “A city built on mud; / A culture built upon profit; / Free speech nipped in the bud, / The minority always guilty. [Why should I want to go back / To you, Ireland, my Ireland? / The blots on the page are so black / They cannot be covered with shamrock. / I hate your grandiose airs / Your sob-stuff, your laugh and your swagger, / Your assumption that everyone cares / Who is the king of your castle. / Castles are out of date, / The tide flows round the children’s sandy-fancy; / Put up what flag you like, it’s too late / To save your soul with bunting.]

The illustrations are by Peter Strain (web) in Joy’s Entry and Wilson’s Court. See also by Strain Handsome, Easy-Going, And Utterly Untrustworthy and Trust Women.

On McCracken, see The World Affords No Enjoyment Equal To That Of Promoting The Happiness Of Others.

On abolitionism in Belfast, see Olaudah Equiano and If There Is No Struggle, There Is No Progress.

See also the Visual History page on The Belfast Entries.

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#BreakTheBias

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Crossed arms are the symbol of the #BreakTheBias campaign, which is the theme of this year’s International Women’s day (IWD) and people all around the world are striking the pose on social media to show their support (e.g. tw) including this large mural in Belfast, which has been painted off Corporation Street.

By Visual Waste (web | ig), with support from Children In Crossfire (web).

Tomb Street, Belfast

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The Veil Wears Thin

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The theme of the all-women jam at ArtCetera (formerly the Red Barn Gallery) (@artceterastudio43) was ‘the veil wears thin’, suggestive of liminal states and places that samhaın brings to mind (HMC). Kerrie Hanna’s (@kerriehanna) interpretation of the theme was to support the women (in Iran and elsewhere) who were cutting their hair as a form of protest at the death of Mahsa Amini while in the custordy of the “Guidance Patrol” or “Morality Police”, allegedly for wearing her hijab improperly (CNN | EuroNews | WP).

Also shown in today’s post are the works by Wee Nuls (web) – Free Period Items and one of her trademark “gremlins” inspired by being 28 weeks pregnant, Harriet Myfanwy (@myfanwynia) – a centaur, Arú Roncada (@arububu) – a representation of the five elements, Ariana Lupascu (@contemplatingthestars) – a pink car, HMC (web) – a ?dragon? on a ?bamboo stalk? and Zippy’s (web) I’ve Got My Eyes On You.

The ‘free period items’ piece – and the controversy surrounding its original location – was described previously in About Bloody Time.

See also: the Women’s Work jam for International Women’s Day 2023, in College Court: Women’s Work | We Built This.

Rosemary Street, Belfast. With support from @Outlines Art Supplies.

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The Spirit Of Commerce

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A ship’s figurehead (perhaps) cranes upwards – as the viewer must also do – in front of a background of decaying tile-work. Perhaps the decay is being left behind? In any case, Belfast City Council thought a suitable symbol of Belfast moving onward and upwards when used the art to announced the Belfast Stories project (tw; see The Rising Place).

The piece is by Irony (tw | ig | Fb | tumblr). According to Adam Turkington, Irony was inspired by “the commercial themes in Ciaran Carson’s many visions of Belfast” (Belfast Live). (Belfast Confetti was the inspiration for emic’s piece in Winecellar Entry.)

In Pottinger’s Entry. There is a separate Visual History page on the Belfast entries and the recent (2020 onward) efforts to beautify them.

See also: The Verticality Of The Divine | Tile Refinery.

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