*NOTE: PLEASE USE QR CODES ON LABELS, OR HEADPHONES TO HEAR SOUNDS OF SOME WORKS.
1. SHANNA DARSAN Year 3 Fine Art MTU Crawford College of Art and Design
Title: MATERIALITY OF A WHISPER
Tissue paper, wine bottle sleeves, PVA glue, acrylic paint and charcoal mounted on foam board. The process of making included layering and tearing, adding and taking away, laying the tissue over the various holes from the sleeves, muting and dulling their depths.
The materials involved within this piece relate a human whisper made physical. The heaviness of warm breath and words made thick with the careful movement of lips, the air thick with saliva and skin which transfers and sticks between close proximity along with a message.
2. ANN MARIE CONNOLLY Art Textile SPA / MTU Crawford College of Art and Design
Title: BEYOND WORDS
Hand embroidered cross stitch on white cotton muslin with cotton stranded embroidery threads. This artwork is my response to television news and images of the appalling genocide of the Palestinian people over the past two years. In particular, the airstrikes and killing of innocent civilians, the destruction of their land, infrastructure and livelihoods and the loss of their cultural sites and heritage. I have been inspired by the beautiful and vibrant Palestinian embroidery (Tatreez) especially on the traditional Palestinian women's dresses (thobes). Palestinian embroidery is a centuries-old art form and in 2021 UNESCO inscribed its practices, knowledge and rituals on the representative list of the intangible cultural heritage of humanity.
3. MICHELE TALVIN ART TEXTILE SPA / MTU Crawford College of Art and Design
Title: THE ORIGINAL SIN OF THE UNITED STATES OF AMERICA
Layered Cotton fabrics, recycled jeans, Polyester threads, cotton embroidery thread, colour inkjet images, recycled organza, Bondaweb, sublimation printing, butcher block counter top material and wood dowels “Peter, The Scourged Slave,” is one of the few photographic images documenting the treatment of human beings. The historical aspects of the U.S. slavery trade, business wealth and treatment of slaves remains under taught in the teaching of U.S. history. The visual ‘whisper’within exemplify the systems employed during slavery in the United States, including the slave trade of selling human beings into life-long and generational bondage; the splitting of families; separating children from their mothers; brutal whippings and using this treatment to terrorize and control those held in bondage. These are the true horrors of this complete disregard for human beings and the impact the practice had on wealth, poverty, civil rights and the foundations upon which America was built upon physically, spiritually and morally. This work is a historical perspective speaking truth to executive authority that have continued to provide a separate quality of life to people of colour in the United States.
4. EZRA WILLIAMS BA YEAR 4 Contemporary Applied Art / MTU Crawford College of Art and Design
Title: NAKED, Felt; video
This work is an animated visualiser for my song “naked”. It is a song about spiralling and being overwhelmed and having racing thoughts, there are voices whispering the lyrics near the end of the song to replicate what it is like experiencing psychosis.
*HEADPHONES
5. ELAINE COUGHLAN Art Textile SPA MTU Crawford College of Art & Design
Title: MURDERING THE CONVERSATION
Hand stitched glass beaded textile piece with machine embroidery on cotton canvas fabric with polyester and nylon thread in a black frame.
This is an ariel view of a large crow gathering on my garden oak tree. My crows are in "subsong/Whisper song" consisting of soft rambling and improvised notes that are barely audible, often described as babbling. The low volume sounds such as coos and rattles are used when they are comfortable, signalling safety and strengthening social bonds.
*QR CODE
6. AISLING WHITE BA YEAR 4 Contemporary Applied Art / MTU Crawford College of Art & Design
Title: I wasted my time watching youtube shorts.
Polycotton blend, lace, my iPhone, video/asmr stimulation
Hey what’s up guys, welcome back Blowers and if you are new here subscribe to be a part of the #blownaway fam! Ashbubble here with another stimulation for the nation. Captivate your attention with a POV story time and don’t worry there’s a side of ASMR to keep you stimulated. Short form content becomes physical though materiality.
*HEADPHONES
7. JOHANNA TUISK BA Textiles Year 3 Pallas University of Applied Sciences
Title: WHEAT WHISPERS
Video, audio, fabric
Standing at the edge of a field, I feel completely at peace. Everything here is visible, orderly, and predictable. Maybe even a little boring. But I like boring, it means everything is fine. Relax, nothing is going to happen. And if you stand very still and the wind blows from just the right angle, you can hear the wheat whispering its secrets to you.
8. MARI SAFFRE BA Textiles Year 3 Pallas University of Applied Sciences
Title: THE BODY IS A TEMPLE
Audio and photo
Come, sit, and here you are a saint. You are part of an altar honouring yourself and your uniqueness. Here you are mighty. You are protected. This work examines the relationship between viewer and a sacral object. One is far and untouchable in the church, the other inviting and immediate. One is made of cold stone and gold, the other of soft fabrics. In one, the human is but a lowly sinner, in the other, uplifted to a saint. Photo: Martin Männa, audio engineering: Mihkel Martin Kasterpalu
*HEADPHONES
9. SEÁN LOONEY MA in Composition --MTU Cork School of Music
Title: EVENFLOW
Felt tip on Styrofoam, contact microphones and tape loop.
In EVENFLOW, the whisper for me refers to the soft rolling along of skateboards on concrete that is present on Grand Parade in Cork City. A popular skateboarding destination, this sound accompanied by intermittent attacks of skateboards and feet touching ground after an attempt at a trick have been embedded into my brain from a young age.
My attempts to recreate this texture on Styrofoam speak to the human ability to alter the function of a space to suit our needs. The interactions the audience will have with the work will serve as a scale model recreation of this alteration, and colour the structure with the sound of its now altered function.
10. QUINN SWEENEY Year 4 Fine Art MTU Crawford College of Art and Design
Title: TEXTURAL SIGNALS IN INTERFERENCE
1.Up-cycled paper, gesso, texture medium, charcoal, pencil. Up-cycled paper was ripped and shredded, soaked, blended and transformed during the paper making process.
2. Analogue contact print. Hasselblad camera, 120 film. As resin-coated paper is exposed to light through film by measures of 2 seconds (while simultaneously blocking areas of the paper) time measures are captured. This is used to help calculate appropriate exposure for developing larger images. Exploring how the invisible audible experience could be visually expressed in relation to the body is an ongoing theme of my current practice. The audible world is a complex fabric of information a state of constant flux. This invisible world here represented with paper, was made in a series during the summer of 2025 with the idea of sound. Photography on the other hand, is an ongoing process employed as a means of quietening this interference. However, here the overlapping idea which brings these two strands together, is exposure. In response to the theme of this exhibition, the feeling of a whisper was considered, smooth and fleeting against coarse interference, transforming a surface, a segment; irregularly shaped, layered up and evidently textured. I imagine someone gently running an index finger along one of the smooth ridges.
11. SAIDBH DUKA Year 3 Fine Art MTU Crawford College of Art and Design
Title: WALLS READ OUR WRITING
Collaged photo transfer of writing and figurative drawing on cotton bedsheet, curtain net and tablecloth, stretched onto canvases.
The outcome of the transfer is dependent on the interaction with the material, appearing visibly clearer on cotton than it might on the curtain net, suggesting a lack of full control of how we might intend for others to perceive a message but reflecting too on how the original understanding of a thought, word or sentence initially recorded can change and distort over time through repetitive processing and filtering, resulting in whispers.
12. JACK MAHONY MA in Composition --MTU Cork School of Music
Title: PORTRAIT OF MY FATHER
Audio: By converting the raw data 10 photos of my father into audio, I have create a looping piece of audio.
Each photo, or audio sample, is played individually before the all begin to merge into one sound. Visual: Using the visual representation of a section, each photo as a Wav file, I have painted each photo onto the linen in 10 equal 36cm increments. Linen was chosen to allow for natural flow in the gallery space.
This piece is a dedication to my father, whom I lost to suicide in 2014.
* HEADPHONES
13. ALI CULLINANE Year 3 Contemporary Applied Art MTU Crawford College of Art & Design
Title: ROISÍN NA MAINIACH RAIN STICK
Sculpted handmade paper with inclusion of organic materials gathered in Carna, Connemara. (sand, pebbles, seashells, moss, seaweed, lichen, grasses). I was born of English immigrants to Ireland, with Irish ancestry on my father’s side that was seldom spoken of. Growing up, the absence of extended family, or even family memorabilia, created a void in my sense of identity. I grieve a lack of ontological belonging. The act of gathering organic materials and taking impressions has allowed me to make a physical connection to my great grandmother’s home place at Carna, Connemara. This Roisín na Mainiach rain stick emulates the sound of the sea through the rhythmic rattling of sand, stones and shells gathered on Callowfeenish beach.
* QR CODE –ALSO--MOVE GENTLY
14. AINE SEALY BA YEAR 4 Contemporary Applied Art MTU Crawford College of Art & Design
Title: MY HEART WAS ALWAYS FOR YOU, 1915
Sublimation print on antique linen table napkin
A recently rediscovered family archive of long forgotten handwritten love letters, dating from 1915, provided the opportunity to retrace a family romance. When setting the national examination in Irish, my grandfather included a poem about his fiancé as Gaelige.
Combining modern techniques of digital photography and sublimation print with handwritten script on traditional damask table linen brings past voices to light and allows time to compress. Traditional table linen explores shared tactile memories held by cloth, while vintage fabrics serve as local and sustainable sources of inspiration.
15. DARIA KRAWCZYK Year 3 Contemporary Applied Art MTU Crawford College of Art & Design
Title: LINKING THREAD
Fabric and embroidery
In my work I tie in the relation with threads and music through a nostalgic song known in many cultures. Stitching together the fabrics into something new binds the moment similar to that of a hum or lullaby, creating a new lasting memory forever encased in time within the fibres.
*QR CODE
16. M. ALEKSANDRA PIHO BA Textiles Year 3 Pallas University of Applied Sciences
Title: 99 HZ
Digital print on cotton voile
99 Hz is the sound frequency made by Tartu’s Karlova district electrical distribution board – 2nd octave G. Hearing the constant whine over and over, I translated the irritation into creation. I recorded the 99 Hz tone, then began collecting other sounds: my late grandma’s talking, uncle’s silly singing, heavy rain during Estonian Design week, ambulance siren etc. I converted those recordings into spectrograms and combined the outcomes into pattern.
Software used to convert the sounds – Spek
*HEADPHONES
17. ANNE MARIE LALLY Art Textile SPA MTU Crawford College of Art and Design
Cotton dyed threads on wooden frame
Title: NOT WAVING BUT DROWNING
The pictorial weaving is a response to the Stevie Smith poem of the same name. The poem speaks of how a call for help can go unheard if others misunderstand, ignore or cannot interpret that call.
This woven piece depicts a verbal recording of a call for help presented as a sound wave; a precise visualization of a simple word but one we may not readily interpret. This piece, and the poem that inspired it, speak to the possibility of personal distress hidden in plain sight.
18. MARGARET NEWPORT Art Textile SPA MTU Crawford College of Art and Design
Title: IOSGAIN
Mixed fabrics including cotton and linen, paper, polyester thread and cotton batting.
Quilting techniques, Trapunto, Sublimation Printing, Digital Stitching, Momigami Technique Kneaded Paper, Hand & Machine Stitching.
Linking her creativity with memories and emotions, Margaret merges traditional quilting skills with modern digital stitching and sublimation printing techniques. Influenced by objects rich with meaning and memory of people and place, this piece is inspired by the piped organ in her local church, where her grandmother and aunt were organists for over 100 years. Now deceased, their playing and the voices of the many children who sang in the choir are but whispers of a time and a tradition that has all but disappeared.
*QR CODE
19. ANA TAMULYTĖ MA Textile Arts and Media Vilnius Academy of Arts, Kaunas
Title: WILL YOU DARE TO CRAWL UNDER?
Latex, paint, and soft fabric (soft material).
Will You Dare to Crawl Under? invites the viewer into an intimate and sensory space beneath the surface of the body. The work explores vulnerability, comfort, and the memory of primal safety through soft textures and whisper-like sounds. By entering the installation, the viewer encounters a warm, gentle environment filled with subtle bodily murmurs, evoking the experience of returning to the beginning of life — a state of protection, closeness, and quiet connection. The work reflects the whisper as a sensory experience, an inner sound, and a space of emotional intimacy.
*INTERIOR SOUND
20. ANNE RATH Art Textile SPA MTU Crawford College of Art and Design
Title: NEGREDO
Sublimated print using waste ink and a layering approach using a ghost print of plant material on transparent rayon and cotton muslin, collaged onto a photo transfer on fine rayon, tea-stained text from an old book written over not to be read but to demonstrate that we are all drawing from the universal book of the human. Text is written on material with fine point black.
In this piece I explore the alchemical process of grief and loss, universal transitions that humans navigate. Here I play with layering through composition, colour, text, print techniques, collage and mark making. I hesitated to give this piece a title but in the end I settled on Jung’s term,
“Negredo”, the “blackening’, the first phase of transformation where the raw materials of the self, the ego, beliefs, identity dissolve and we step into a deeper way of being in the world.
21. ANNMARIE KETT Year 3 Fine Art MTU Crawford College of Art and Design
Title: NOTHING MORE THAN RUBBLE AND STONE
Graphite, Lino Ink, White Gel Pen, Clear Oil Pastel, Photo on Printer Paper, PVA Glue, Texture Paint.
Collage, Printmaking, Drawing, Scratching, Painting.
Annmarie Kett’s work explores the experience of quiet reclamation felt by a structure after its abandonment. The piece follows the ruins of St Ann’s Hydro, situated in Tower, Cork, as the remains slowly succumb to dereliction and fragmentation, overpowered by the natural forces of the earth. Decay is highlighted as an inevitability, with emphasis placed on the silence that follows it. Sound is portrayed through texture, colour, process, and image, shifting from loud and bold to quiet and faint. A story that tells the process of return, the marks blend with the paper as the rubble blends with the earth.
22. VICTORIA CIOLKOSZ Year 3 Fine Art MTU Crawford College of Art and Design
Title: DO YOU REMEMBER TOMORROW?
Indian Ink and found Linocut print on laser engraved Snowden paper with sound piece on QR code.
Victoria Ciolkosz is a fine art student that predominantly explores printmaking and installation art to explore topics of self-reflection and her experiences of pre-nostalgia. Pre-nostalgia is the experience of missing what has not yet been lost. Within Do You Remember Tomorrow?, Victoria combines her past and her future by incorporating aspects of both. Printed in dark blue ink, her childhood favourite colour, while holding a shovel and digging the layers of laser-cut paper representing upcoming experiences and memories. The sound of the shovel meeting the ground marking the present moment being buried. Digging to prepare for the future, grieving one’s own loss.
* QR CODE
23. CLAIRE BERMINGHAM ART TEXTILE SPA / MTU Crawford College of Art & Design.
Title: COGAIR NA GCRÉ (WHISPERS OF THE SOIL)
Techniques/materials: machine embroidery of cotton threads, construction in felted wool
Created with free-machine embroidery on water-soluble stabiliser, this textile artwork traces the delicate threads of the mycelium, whispering quietly beneath the forest floor. Mushrooms float above soft merino wool felt, while fine thread maps this hidden network, revealing the silent systems that sustain life. The piece murmurs of an invisible world we have grown distant from, reminding us of the living tapestry woven into the land we so often overlook.
24. SOPHIA AFTAB BA YEAR 4 Contemporary Applied Art / MTU Crawford College of Art & Design.
Title: UNTITLED (MTA SOUND SCULPTURE)
Found wood, music boxes, MTA seat check tickets, collar, sticker sheet, staples, Little Trees air freshener packaging, acrylic ink, Car emblems, checker plate, broken paintbrush.
In this work, I collected ticket stubs with perforations made by ticket inspectors on the MTA train last summer during my trip to New York. The small holes in the ticket stubs are readable to the music boxes and produce sound. I find that the sporadic sounds seem reminiscent of the very journeys I experienced. The holes in the tickets function similarly to ellipses in a sentence, which omit information, but give enough context to convey what is being said, or in this case, what is being seen. This sculpture is my interpretation of piecing together a city so different from my own, from the inside looking out. *QR CODE
25. PATSY ATKINSON MA BY RESEARCH / MTU Crawford College of Art & Design.
Title: THE GRASS IS LISTENING
Handmade paper thread weaving embedded into hand-made paper imbued with beeswax.
Taking its inspiration from a line in Mary Oliver's poetry, this piece honours her reverence for the natural world and her gentle call to experience nature through all five senses. By listening and being fully attuned to nature's voices, we can appreciate a sense of the interconnection, animism and spirituality of nature. Weft-by-weft, this wild weaving has Oliver’s poetry embedded into the thread. I invite viewers to touch this piece for a wild and gentle auditory experience.
26. MARGARET MOHALLY Year 4 Contemporary Applied Art / MTU Crawford College of Art & Design.
Title: TOWARD THE SEA
Metal wire, glue, crepe paper, spray varnish, found stone.
Whisper for me suggests the constant energy of the sea, even during moments of apparent calm. The ocean has an ambient sound, where motion persists in subtle ways. In calm conditions, sound and movement are reduced to a quiet Whisper with the sea’s constant activity. While the ocean can be loud and forceful, Towards the Sea focuses on quieter conditions with unrelenting motion.
