Art Review: The Gritty Mythologies of Cole Labauve

By Aoife Doyle, Ulster University Alumni

Cole Labauve creating live on Patrick Street, near Saint Patrick’s Cathedral, Dublin. 2026

(Dublin, Ireland) In the shadow of Saint Patrick’s Cathedral, where the tourist trail meets the lived-in reality of Dublin’s north inner city, you’ll often find Nicholas Labauve (known professionally as ColeDublin). He isn’t just painting; he’s performing an act of cultural reclamation. In an era where “public art” usually means a government-sanctioned mural or a sterile bronze statue, Labauve operates in the ephemeral, dusty tradition of the madonnari.

The Aesthetics of Soot

Labauve’s work is a fascinating contradiction. His subjects are the heavyweights of Irish lore — Fomorians, Vikings, Brian Boru, and Brigid — yet they are rendered in materials that suggest fragility and grit: charcoal, oil, and mixed media.

There is a raw, almost “pre-Christian” intensity to his mark-making. His charcoal drawings don’t just sit on the surface; they seem to be clawed out of it. The “grungy” aesthetic he employs isn’t just a stylistic choice; it bridges the gap between the ancient, mud-soaked myths of the Dagda and the exhaust-stained reality of 21st-century Dublin.

• Key Works: Pieces like Manannan’s Grey Watcher and his depictions of the Eternal Flame of Kildare avoid the trap of Celtic kitsch. Instead, they offer a “starving artist” authenticity — unpretentious, resilient, and deeply connected to the city’s immediate rhythm.

Democratising the Studio

What makes Labauve essential to the Dublin scene is his rejection of the “white cube” gallery logic. By choosing the sidewalk as his studio, he engages in a performative practice that democratises the viewing experience.

“His work turns the footpath into both a stage and a sanctuary, removing the velvet ropes of the art world and replacing them with a shared, public dialogue.”

This isn’t just busking; it’s a living archive. Passersby witness the labor of creation — the smudge of charcoal on skin, the fight against the Irish weather, and the fleeting nature of a chalk drawing.

From the Curb to the Auction House

While his roots are firmly on the street, the “fine art” world is beginning to take notice. His inclusion in the “Wonders” MART Members Visual Art Exhibition (January 2026) in Rathmines signaled a shift from “street character” to “serious contemporary contender.”

The secondary market is following suit. With hammer prices at Ross’s reaching several hundred euros for charcoal works and a record 2025 appearance on MutualArt, Labauve is proving that “busker art” has legitimate investment legs. His price point remains accessible — ranging from affordable prints to mid-hundred euro originals — making him a gateway artist for a new generation of Irish collectors.

The Verdict

In a digital age, Labauve’s work is a tactile reminder of what art used to be: a communal experience. He is a cultural custodian working in real-time, conjuring saints and warriors amidst the hiss of passing buses.

If you find yourself near Saint Patrick’s, stop. Don’t just look at the cathedral — look at the charcoal covered artist. You aren’t just seeing a drawing; you’re seeing the heartbeat of Dublin’s modern mythological revival.

Highly Recommended: For collectors of contemporary Irish folk-art and those who value the grit of the street over the polish of the gallery.