The Claddagh Embrace

Former gay mural in Dublin, Ireland From Wikipedia, the free encyclopedia

The Claddagh Embrace, or just Claddagh Embrace, was a large scale paper wall mural on a building in Dublin, Ireland created by street artist Joe Caslin. The mural was unveiled on 10 April 2015 during the lead up to the referendum on the Thirty-fourth Amendment of the Constitution of Ireland, which legalized same-sex marriage in the Republic of Ireland. On 21 April 2015 Dublin City Council (DCC) sent a warning letter calling for the mural's removal as the mural was placed on a historic building without requesting planning permission from Dublin City Council. Rain heavily damaged the mural on 29 April 2015. The mural depicted a male same-sex couple, and is considered a symbol of same-sex marriage in the Republic of Ireland. A month later, Carlin released a sister piece featuring a female same-sex couple in County Galway.

Completion date
10 April 2015 (2015-04-10)
MediumPaper, glue
Quick facts Artist, Completion date ...
The Claddagh Embrace
Claddagh Embrace
The Claddagh Embrace prior to destruction
ArtistJoe Caslin
Completion date
10 April 2015 (2015-04-10)
MediumPaper, glue
MovementYes Equality campaign
SubjectMale same-sex couple
DesignationMural
ConditionDestroyed
Location
  • Dublin
  • 53.344027°N 6.264310°W / 53.344027; -6.264310
Preceded byOur Nation's Sons
Followed byLesbian mural on Caherkinmonwee Castle, County Galway
Websitejoecaslin.com/pages/equality
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History

Background

Katherine Zappone and Ann Louise Gilligan lost a case in the High Court in 2006 for the recognition by Ireland of their Canadian same-sex marriage.[1] The Civil Partnership and Certain Rights and Obligations of Cohabitants Act 2010 instituted civil partnership in Irish law. After the 2011 general election, the Fine Gael and Labour parties formed a coalition government, whose programme included the establishment of a Constitutional Convention to examine potential changes on specified issues, including "Provision for the legalisation of same-sex marriage". The Convention considered the issue in May 2013 and voted to recommend that the state should be required, rather than merely permitted, to allow for same-sex marriage.[2] Its report was formally submitted in July and the government formally responded in December, when Taoiseach Enda Kenny said a referendum would be held "no later than mid-2015".[3]

Some legal academics claimed that extending marriage to same-sex couples did not require a constitutional amendment and could have been accomplished by an ordinary Act of the Oireachtas.[4][5] Then-minister Shatter disagreed in November 2013, stating that there was "ample case law" to the effect that "marriage is understood as being between one man and one woman".[6]

In January 2015, the wording of the proposed amendment was agreed at a special cabinet meeting and published in the press. The bill was formally introduced in the Dáil by the Minister for Justice and Equality, Frances Fitzgerald.[7][8]

Creation and destruction

The Claddagh Embrace was created by Roscommon town street artist and LGBTQ rights activist Joe Caslin as part of the Yes Equality campaign[9] during the lead up to the referendum on the Thirty-fourth Amendment of the Constitution of Ireland, which legalized same-sex marriage in the Republic of Ireland.[10][11][12] It was pasted[13] and unveiled 10 April 2015[14] on the historic Rick's Burgers building opposite gay bar The George at the corner of Dame Street and South Great George's Street in Dublin, Ireland.[12][15][16][17]

It was created using paper and a non-acrylic glue made from potatoes,[11][18] and created on the Rick's Burgers building with permission from the owner.[19] It was inspired by a photograph taken by Dublin photographer Sean Jackson depicting two men,[10] and Frederic William Burton's painting The Meeting on the Turret Stairs.[18] It depicted a male same-sex couple cuddling in a monochromatic "pencil drawn" style.[18][17][15] The name is a reference to the Claddagh ring.[13]

On 15 April, DCC issued a complaint letter to Caslin, calling for its removal, as Caslin had not sought planning permission for artwork on the historic building.[20][21] Prior to this, DCC was sent several requests for the statue's removal or covering up from people campaigning for the referendum to fail.[22] After the letter, 15,000 people signed an online petition to save the mural.[20]

On 29 April 2015, it was heavily damaged after days of expected continuous rainfall,[11] with parts of it peeling and withering as the paper dissolved in the rain.[18][23] Speaking to TheDailyEdge.ie, Caslin said that he was expecting it to happen.[24]

Reception and legacy

On 20 May 2015, it was on the front-page of the International New York Times for a story about Ireland legalizing same-sex marriage.[25][13] Two days later  when the referendum passed  people were seen dancing under it.[26] Newstalk considered it to have "sparked controversy" after its installation, calling it controversial.[27] A month later, Caslin created a sister piece on Caherkinmonwee Castle in County Galway.[16]

Her.ie called the artwork a "poignant vocal point" that would be remembered whenever people think about the amendment.[28] Art critic Cristín Leach, Gay Community News (GCN) and Belfast Live consider it to be a symbol of Irish marriage equality.[13][10][29] RTÉ described the piece as "moving", "iconic" and Caslin's most recognizable work, saying "The iconic image captured the hope, empathy and significance of that referendum, but for Caslin, identity - and the fight to express that identity - has been long intertwined with his art".[16][17] Additionally, writing for RTÉ, journalist Lauren Murphy considered the artwork to be "roundly hailed for its subtle-yet-powerful statement".[15] The Westmeath Independent said it was "the most potent symbol of the pro-marriage equality side", also describing it as "striking and highly-acclaimed".[30] The College View said it was an emblem of the referendum.[31]

In 2017, the artwork was selected as part of a series of newspaper articles by Leach for RTÉ about 21 artworks that she believed best "defined Modern Ireland" [sic], saying that it is "a single artwork [that] can be identified as having had a significant political impact [and] carried weight during a time of noted societal shift." Leach described the men's expression as "worried, sad, perhaps even afraid-looking".[13] In Michael G. Cronin's 2022 books Revolutionary bodies: Homoeroticism and the political imagination in Irish writing and Sexual/Liberation: Síreacht Longings for another Ireland, he considered the piece to be developing a "very significant media currency [..] as a key signifier of the marriage equality campaign".[32][33]

References

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