— Simon Judge (@simonjuj) April 5, 2020
The work of Spanish artist José Manuel Ballester – familiar old canvases with the humans removed – newly apposite in the current climate.
(Above (from top): Leonardo da Vinci’s “The Last Supper” (1498); Sandro Botticelli’s “The Birth of Venus” (c.1486); Francisco Goya’s “The Third of May 1808” (1814); Jan Vermeer’s “The Allegory of Painting” (1668); Pablo Picasso’s “Guernica” (1937); Diego Velázquez’s “Las Meninas” (1656) and Théodore Géricault’s “The Raft of Medusa” (1819)
Adamstown, county Dublin. More metaphor than suburb.
Other than a postman, a pair of council workers mending a pavement and a solitary jogger, the place seems empty.
The silence is only broken by announcements from the station tannoy, blown across town on the breeze, telling non-existent passengers to step back from the platform edge as a fast train is approaching.
The place has the feel of an American suburb, rather than a bustling Irish town.
The first people who chose to live here were assured that their pioneering spirit would be rewarded.
There would be nearly 50 shops, nine restaurants and two public houses. To date a single convenience store, a hairdresser and a pizzeria are the only community facilities.