C A H O O T S : S A M P L E \ w / A 4 | THE ARTISTS

31st Jan – 10th | Sample-Studios at the A4 Gallery


C A H O O T S : S A M P L E \ w / A 4 is the first in a series of collaborations between A4 Sounds and Artists Studios here in Ireland and further afield.

C A H O O T S : S A M P L E \ w / A 4 features work by 13 member artists from Sample-Studios, Cork.

Sample-Studios is one of Irelands leading artist-led spaces with over 40 member artists. TACTIC is the artist-led visual arts programme of Sample-Studios. With their focus on creating a dialogue and a process of collaboration across disciplines they aim to highlight artists and curators who demonsatrate high levels of resolution, investigation and critical thinking in their practice whilst also facilitatiing the enjoyment and participation in contemporary art for its audiences.


Sarah Jayne Booth
hole in the bucket


Considering women’s roles historically in society, this work gestures to the past where relegation of women was commonplace and highlighting that this eternal fight for fair inclusiveness hasn’t progressed as far as it should have. Partially influenced by a line from Alan Bennett’s History Boys, ‘…what is history? History is women following behind with the bucket.’

This kinetic sculpture ‘hole in the bucket’ also references The Why Axis, where Uri Gneezy and John List perform experiments to see why women earn less than men and their unique findings using a simple ball and bucket, it concludes that ‘…that given the right culture, women are as competitively inclined as men, and even more so in many situations. Competitiveness, then, is not only set by evolutionary forces that dictate that men are naturally more inclined than women (nature). The average woman will compete more than the average man if the right cultural incentives are in place (nurture).’

Cork born artist Sarah Jayne Booth graduated with BA Hons in 2007 and an MA Hons in Art & Process in 2014 both from Crawford College of Art & Design.

Email: bsarahjayne@gmail.com


Nora Buttimer
Fluid Movement

As a Biological Science technician in the Zoology Department UCC, the aquatic environment has greatly influenced Noras’s work to date. The processes involved in biology are quite similar to those of an artist working in the natural world: Gathering of materials followed by the organisation, investigation and in depth research of same.
Coastal and riverscapes provide the sources for scientific research and are essential to the integrity of her work. Inspired by the sense of freedom and reignition of childhood memory that the West Cork coastlines provides, her painting captures the relentless energy of flowing water, how living things move and breath within it, the myriad of wonderful colours visible underwater all hold a particular fascination for her. Her more recent work introduces some organic structures, both animal and plant life, concentrating on microscopic imagery to better inform the fluid and solid passages in her pieces.
Nora uses a range of mediums, including acrylic paint, inks, sand, tissue, textured wallpaper, textiles. Marks using dried seaweed and grasses are all incorporated into the finished piece.

Nora Buttimer graduated from Fine Art Painting at the Crawford College of Art in June 2010.

Email: nbbuttimer@gmail.com


Edith Cosgrave
Lifeboat Station, Horizon 2

Substrates are unseen and often unknown. Our education teaches up we are made of organs. They float in textbooks as ideal forms, laid out for clarity in pure cartesian space. Our blood and bones as sterile structures stretched out cleanly on the textbook page.

Real bodies are not like that. They have no voids or empty spaces. The organs do not hover in space, they are contained, sheathed and sustained within a substrate. Fascia and tendons, connective tissue and membranes, hold them in place, tight against each other, sustaining and protecting them. These substrates are unknown and nameless to us, and yet without them, we would fall apart.

This work is about the idea of substrate, how pattern and texture, form and structure underlie the obvious appearances of our world and sustain their existence.

Edith has work in collections in Ireland, USA, UK, New Zealand and has exhibited in Ireland, London and New York. Edith is the mother of three daughters, and a community medical doctor. Her work is deeply informed by her medical practice. Her professional experience has trained her to see beyond the surface appearances to a critical assessment of underlying patterns and systems.

Instagram: @edithcosgrave
Email: info@edithcosgrave.com


Pat Donlon
Digital Constructs and Emerging Shapes
Digital Print

This construct shows the arrangement and placement of shapes and colour combination and the over all configuration of the components that make up the whole image. The black horizontal and vertical lines divide the space that gives the shapes their place on the surface plane. There are other variations to this particular work that reflect on the manipulation and the intuitive integration of the design elements to the surface space thats is suitable to the realm mix media artistry.

Pat’s works explore the the concepts of digital creative constructs.
These compositions are geometrical configurations where rhythm and abstract pattern becomes achievable with in the horizontal and vertical line structures and their connecting components, positioned orientation and conformation with in the surface space with their emotional values to colour form and content. This interaction with computer applications like photoshop etc evokes and provokes the creative process thats is critical to the visual aesthetic and the philosophical approach to digital media. Technical elements like layering ,cropping, montage, collage and digital fine art printing are a part of this process.

Instagram: @patdonlon0072018
Twitter: @patrickdonlon2
Pictify: @patrickodonlon1
Facebook: @patricko.donlon1
Email: patdonlon007@gmail.com


Tommy Feehan


Tommy’s work as an artist is concerned with the human condition. The subjects that appear on his canvas tend to be an eclectic mix of ideas that attempt to examine, with affection and humour, the human condition and all its foibles.
He is interested in the act of painting and the space it provides to articulate inner states, explore subjectivity and expression. The process of painting provides a surface where the pursuit of perfection can be entertained and where the intimate relationship with accident & the ambiguity of existence can be honoured.

Tommy Feehan (b. 1988, Ireland) is from Cork, Ireland. He is 180cm tall, weighs 78kg and graduated with a degree in fine Art from Crawford College of Art and Design in 2011.

Doswell Gallery Profile
Email: tommyfeehan88@gmail.com


Joseph Hefferman
Monument, Nexus

Joseph’s work deals with created spaces as they relate to the environment of the studio and is influenced by Michel Foucault’s concept of heterotopic space as outlined in his 1967 talk Of other space. His work explores this idea through the lens of the studio as a sort of heterotopia, creating a cryptic narrative, which incorporates elements of Science Fiction, Commedia dell’arte and Mythology in a deceptively simple but theatrical visual world. The characters in this world appear to be obsessed with a strange compulsion towards repetition, which is used to explore themes of identity, alienation and absurdity while also being a self- reflective meditation on the ritualistic nature of painting.

Joseph Heffernan b.1987 is an Irish artist based in Cork. He received his BA Honours in Fine Art from the Crawford College of Art and Design in 2009 and later went on to study Painting as a Masters student at NCAD Dublin, which he completed in June 2016.

Email: josephheffernan33@gmail.com


Kathryn Kelly
This Marked Interruption In Continuity
Digital Collage

As an artist Kathryn engages in an intuitive process of searching, gathering, incubation, envisioning and construction. Her creative practice works consciously and subconsciously to explore and reveal ongoing and re-occurring themes such as mental and bodily sensation, trauma, death, the surreal and the ‘shadow self’. The creation of something new from the fragments of that which has been broken is a significant objective of the work and forms the basis of her visual compositions. Themes can all act as a conscious starting place when going about the process of making art work and alternatively themes may emerge subconsciously from the act of creating the assembled work itself. The works function primarily as sites of division and dislocation between the internal state and the outer world.

Kathryn Kelly graduated from Limerick School of Art and Design in 2009 with an Honours degree in Fashion Design. Her creative practice at present is predominantly in the field of visual art, working with mixed media print and collage, sculpture, installation, text and lens-based work. 

Email: Kathryn_A_Kelly@yahoo.com



John Ketch
John Ketch


An organism that depends for its survival and wellbeing on the existence and changing condition of its host elements. It is integrally necessary and destructive simultaneously and the visible elements generally go unnoticed unless they are sought out or become intrusive.

During his work as a Landscape Architect John became interested in understanding space at a level different to that which was required to meet the needs of clients. As a photographer he now explores the appropriation and use of space, and seeks to examine the networks of communication, control and power that permeate public, private and common space.

John Ketch graduated from Crawford College of Art and Design.

Facebook: @John-Ketch-Photographer
Twitter: @J_Ketch
Email: ketch@ketch.com


Kevin Mooney
Apparition, Brute, Peasant

Kevin Mooney’s parents were part of the mass exodus from Ireland in the 1950s, returning decades later. This background of emigration, and his early experiences as a UK born Irish person growing up in Ireland, has informed his painting practice. As a child, he was partly excluded from a “real” Irish identity as a result of this family history. This allowed him to develop an “outsider” understanding of Irishness.

Rooted in mythology and a semi-fictitious Irish art history, his practice is culturally specific. A key influence has been part of the last generation to experience a living oral tradition. This has been crucial in developing his work, which can be read as the abstraction of Irish folklore as seen through a contemporary lens.

His paintings, sometimes made with rough heavy canvas, or with surfaces bearing layers of varnish, play with the notion of history. Contemporary vocabularies of paint find their way into the work alongside a prehistoric symbolism and a medieval flatness, creating multiple temporalities on the one space of the canvas. With this compression of time, the work can be read as a memory that maps, retraces, and re-imagines cultural history as an active interplay between loss and renewal.

Kevin graduated from NCAD with an MFA in 2012.

Instagram: @_kevinmooney
Twitter: @kevinmooneyart
Facebook: kevin.mooney.946517
Email: kevin@kevinmooney.org


Kim-Ling Morris
Who controls the past
Mixed media

Taken from George Orwell’s “1984”, the quote that inspires this piece continues to reveal its relevance to today’s world. Decisions based on history are questionable. We can only be sure of the present. The past that stretches back through story, history, archaeology, geology, astrophysics is dependent on technique, hypothesis and theory. The future is dependent on extrapolation.

The materials in this piece are recycled. Traditional fibres such as wool and cotton are intentionally placed beside synthetic materials to underline the narrative. The stitching used is influenced by the Japanese technique of sashiko, which was chosen for its origins.

Kim-Ling’s work emerges from the events and emotions that touch her life, both big and small. It comments on the absurd, the ordered, unexpected proximities, perfection and the beauty in imperfection. Wherever she is, she is not from there which allows her to view her surroundings with a certain externality, providing the root of her individual presentation.
Inspired by the inventiveness of poor communities in the world to solve problems with what is available, her work incorporates discarded items, applying textile techniques to found objects and fabrics in experimental combinations.

Kim-Ling Morris is UK born and has lived in Europe, Africa and South-East Asia before settling in Cork, Ireland. She trained and worked as a Biochemical Engineer, creating her art practice in parallel. She began with sculpture in Leamington Spa, UK, continuing at the École Duperré, Paris, France, also exhibiting in France. She has gained her Fine Art Textiles Special Purpose Award at CIT Crawford College of Art & Design.

Instagram: @kimlingmorris
Twitter: @KimLingMorris
Email: kimlingmorris@gmail.com


Anna O’Riordan
Between The Sights Of The Sun (Reverie I&II)
Sculpture, Print

Anna’s work is concerned with the folding and flattening of memory and history over time and space. It is influenced by the language of the ruin, the examination of aged objects, desolate landscapes and ruined architecture. In her work she uses printmaking, sculpture and installation. Objects may be transformed into new objects through the process of folding, layering and compressing, physically or through the process of print making.

A primary concern in her work is the notion of the bog landscape as a repository for cultural memory and histories, within its deep strata. Seamus Heaney’s (1939-2013) bog poems deal with the compression of time in our minds. The landscape exemplifies vast expanses of time, almost outside linear chronologies and the limits of imagination. A tension exists when imagining the bog as both expansive void and restricting vault. The perpetual duality, ambiguities and complexities inherent in the bog landscape dwell more easily  in a Third Space (as theorised by Homi K Bhabha and Edward Soja), both real and imagined at once. Opposing elements unite: The known and the unknown; the real and unreal; the living and the dead; the past and the present. Examining this space gives us an opportunity to see through time, recognising the continuous dialogue that exists between the past and the present.

Anna O’Riordan is an emerging artist from Glenbeigh, Co. Kerry. Anna is based in Cork since 2002 when she moved there to study General Nursing in University College Cork. In 2013 she returned to education to study Fine Art, graduating from Crawford College of Art and Design in 2018.

Anna O’Riordan Art
Instagram: @oriordan.anna
Email: oriordan.anna@gmail.com


Alison O’Shea
Forget Not the Field

Alison’s practice concerns imagined futures which utilise contemporary narratives regarding the housing crisis and new possibilities of occupying the landscape. These narratives are interrogated through fictions, to address the possibilities and consequences they may cause. The use of the tradition of story-telling, phonetic Irish and traditional music attempts to position the work in an imagined future heritage. References to the current surge in property prices and the construction of new spaces attempt to set the work in a state of limbo, through installation of objects from the space which they are built, to the office where they are sold. Her work attempts to pose questions to the viewer about our perception of housing, home and property, by drawing on our shared mythic unconscious relationship with land identity and community. Is there a way in which we could occupy the landscape which doesn’t entail boom to bust cycles, which have distorted the Irish landscape over the last number of decades?

Born in Ireland, Alison studied at the Crawford College of Art and Design, Cork, graduating in 2018 with a degree in Fine Art. She currently lives and works in Cork, partaking in the Sample Studios Graduate Curatorial Award 2018/19.

Alison O’Shea Art
Instagram: @_alioshea
Vimeo: alioshea
Email: alisonoshea.art@gmail.com


Catriona Osborne
Photography, Scuplture

Childishly relived in its shafts of light and dark corridors, the home may take on many manifestations. The house, a physical shelter. The home, an emotional outlet. Consistently drawn back to base, to her home, Catriona continues to find sources of her artistic practice within its walls, extending beyond its boundaries. Studying the reciprocal value with its inhabitants. Playing with the duality of truth and falsities, Catriona tracks memories and childish imaginings. Blurring the lines between public and private. Drawing on little fascinations she produces work in a variety of mediums ranging from pinhole photography to film and from poetry to plaster casts.

Catriona Osborne is from Cork, Ireland. She graduated from Limerick School of Art and Design (LSAD) in 2018, after studying a BA in Sculpture and Combined Media.

Catriona Osborne Art
Instagram: @catrionaosborne
Email: catrionao14@gmail.com