Joe Caslin and the Streets of Ireland

Joe Caslin is a teacher based in Tullmore responsible for some of the most provoking pieces of street art anyone has ever seen on the streets of Ireland. He was born in Roscommon and, in addition to being a teacher, is an artist, illustrator and activist. His beautiful large-scale paintings, which he installs on large walls and buildings, aim squarely at some of the most pressing issues in Irish society. And they usually hit the heart. Shortly before his lecture during the Melba Design Festival forum on November 9 at the NDK, "Виж!" talking to him.

You create large, public art projects. What, in your view, is the function of art?

I believe the function of art is to provoke, to reflect and to enhance a community.

Murals have been traditionally popular with leftist artists seeking social justice. Do you see yourself working in the same tradition?

Public art has been utilised across all spectrums of structured power for centuries. Art can be both a weapon and a shield. Ireland has a very political and in some cases very brutal history when it comes to murals and what they represent. So in that light, I aim to bring empathy to the many social themes I explore. If harbouring empathy brings me to the left well then I suppose I am a right-handed leftist.

Your new project tries to raise awareness of addiction. Is art a form of addiction for you?

My project 'The Volunteers' aims to propel the treatment of drug addiction from the criminal justice system into a health based approach. The very definition of addiction is being physically and mentally dependent on a substance or act. Art for me is not in the realm of those particular addictions, as they have a negative impact on the individual and damning to a society. However, viewing and making art is fundamental to my existence.

 Large murals like yours usually require the permission of the authorities (municipal, university, etc). Does that entail artistic compromise?

I came across an old saying a number of years back that holds a lot of meaning in the world of Irish street art; 'It is easier to ask for forgiveness than to ask for permission. Seeking permission through application forms and box ticking online platforms curbs the majority of artistic expression, as those who are the decision makers are often grey, void of any artistic pedigree and indeed lack aesthetic flamboyance.

Why did you choose Trinity College for a location for "The Volunteers"? 

I install large scale drawings that are temporary and cause no lasting effect to the surface of the building on which they are installed. As such, I get to utilise beautiful buildings that hold very important cultural and architectural significance. Trinity College is one of Dublin's architectural gems. It is a space I have been lucky enough to have worked on three times over the past few years.

Is there a personal story of yours included in the project? 

Every project theme I engage with, be it suicide, drug addiction, economic marginalisation, marriage equality, stigma in mental health, direct  provision (the Irish refugee system), institutional power most recently, consent are all rooted in very personal experience. I only work on issues I have first hand experience of. My voice and the power of the drawing is much stronger as a result.

Tell us a little about your creative process and its technical side.

Each individual portrait is of a person within the social issue I wish to highlight. The process of finding individuals and establishing enough trust for their face to go on a building is a long process, sometimes taking up to eighteen months. It is important that each person is cared for before during and after the process. Once the drawing is finished I work with a small team to place it carefully on the chosen wall or building.

More at joecaslin.com