Sheep magazine archive 1: issues 3-9

12
especially in Northern Ireland where they are
also confrontational, aspirational and defining.
They are all demonstrably democratic in that
they can be defaced, ammended or removed by
their viewing public ...
Taking advantage of street art/graffiti’s
accsessibility to all and the fact that it is not
controlled by the government, the political
murals of Northern Ireland continue a
longstanding tradition of political graffiti. For,
even though they appear, and may seem to be
accepted, on home territories, the very fact that
they do appear at all oversteps the boundaries
of public codes of behaviour ... they still
challenge what is acceptable.
Even though there seems to be a concensus that
peace has arrived in the troubled communities
of Northern Ireland, its veneer is as thin as the
fact these territorial markers, these political
statements, these magnificently diverse graffiti
are still adorning unionist/protestant and
nationalist/catholic neighbourhoods.
Under capitalism aberrations and anomolies
will always appear to attack the free and
democratic voice of graffiti: the notoriety
of Banksy resulting in a desperate ‘art
establishment’ wanting to own him, and put
a commercial value on his free, political and
ironic statements ... Resist those faceless arses,
mon brave!
Art which has no part
in life will be filed away in
the archaeological museum
of antiquity.
Down with Art,
the shining patches on
the talentless life of a
wealthy man.
Down with Art,
the precious gem in the
dirty dark life of a
poor man.
Down with Art,
the means to escape
from the life which is not
worth living!
Alexander Rodchenko
Russian Constructivist
SHEEP IN THE ROAD : NUMBER 3
Photograph: Alan Rutherford
Belfast, 1987