Horse, Heysham Head, c-type handprint, 2020 Hannah Lister

Hannah Lister is a Morecambe-born, photo-based artist who works from her analogue darkroom, printing chance encounters in a process that is slow and contemplative. in this work, ‘Horse, Heysham Head’, which was taken from the ginnel leading from Knowlys Road to Heysham promenade, she uses 35mm film stock and works with perspective, light, colour and texture to present an image that is at once direct, ambiguous and romantic. the photograph was originally exhibited at the Royal Academy of Arts, London, alongside other works, including a piece taken in and entitled ‘Old Pier Bookshop’. through Jwllrs acquisition programme, her work has come full circle, hanging in a bookshop that she has frequented throughout her life.

currently on display at: The Old Pier Bookshop, Morecambe

Samantha Pepys Study, watercolour, 2025, Lulu Bennett

Lulu Bennett grew up in Lancaster, making paintings as part of a contemporary revival of the northern Gothic. in this watercolour, Bennett depicts Samantha Pepys, her drag persona, a trans-feminised version of 17th century diarist/politician Samuel Pepys. she also references Victorian Punch illustrations, another recurring element of her practice, offering a psychedelic, kaleidoscopic vision of British political life.

the original Pepys’ vivid observations of the Great Fire of London (1666) mirror the upheavals of the trans experience in 21st century Britain. Samantha Pepys is a vehicle for trans history painting, an idiosyncratic gender rebel, a time traveller who troubles and queers European art history. her confidence, wisdom and fiercely feminine sexuality situate Samantha in the history of British women’s self-portraiture.

temporarily on display at: BEACH, Morecambe

Fly Chicken, oil on canvas, 2022, Nat Kochan

Nat Kochan lived in Morecambe between 2021–2023. he moved from Paris, having never visited Morecambe, and began integrating with people from the area. he established A_C_, a window art gallery in the Arndale Centre where he exhibited local and national artists. he also had a studio in the Arndale Centre, where he made many paintings, and was visited by Tyson Fury. his paintings included portraits of the Arndale Centre security team; paintings of birds; a painting and multimedia project with Wolfwood’s doggy visitors; and several other works, including Fly Chicken, which is now installed in Wolfwood charity shop, where Nat frequented for inspiration. Fly Chicken is a fan-film-poster for the animated movie Chicken Run, which is often for sale in charity shops. this work has a double meaning, as Wolfwood is a small charity focusing on the rescue, rehabilitation and safe release of wildlife casualties

currently on display at: Wolfwood Charity shop, Morecambe

Sea Fruit, Victorian lead, hessian lined case, 2025, Jamie Holman

Jamie Holman is an artist living in Caton. his work considers ideas of labour, class and heritage with a focus on the North West of England. Sea Fruit is the third iteration of Lancashire Tides, Lancashire Skies, a series of memorial artworks commemorating the tragedy that took the lives of 23 Chinese workers, picking cockles on Morecambe Bay out on the notoriously dangerous shifting sands and tides under illegal and unsafe working conditions enforced by a gangmaster. a night in 2004 that led to the death of 23 people. the project features hand cast cockles in Victorian lead, with each casting representing a life lost. the collection of 23 casts has been permanently acquired by Manchester Art Gallery. Sea Fruit, the latest iteration, features a single cockle representing Dong Zin Wu,

who is still missing. Sea Fruit is installed at the Stone Jetty Cafe, where Lancashire Skies Lancashire Tides was initially hosted on March 14th 2018.

currently on display at: The Light House Cafe, Morecambe

reaching i & reaching ii, photo transfer paper on textured wallpaper, acrylic, 2025 Emily Alice Mitchell

Emily sees bodies of water – The Atlantic in particular – as symbolic and literal carriers of memories and histories; navigating grief, loss and transgenerational trauma, in dialogue with the inbetweens of her mixed Caribbean, English and Scottish heritage. Emily was drawn to Heysham’s coast while studying at Lancaster University. she received the Sir Frank Bowling scholarship to study at the Royal College of Art, becoming a first recipient of the Sir John Akomfrah Research Fellowship

‘reaching i’ and ‘reaching ii’ were made in response to her time in Heysham. ‘reaching i’ uses the arch of St. Patrick’s chapel to look across to the other side of the Atlantic, framing Emily’s grandmother’s portrait. ‘reaching ii’ uses the arch from Farley Hill plantation in Barbados to look back across the Atlantic towards Heysham, with portraits of Emily’s father and uncle. her collaging works reframe and decentralise colonial narratives in place of underrepresented histories

currently on display at: Heysham Heritage Centre, Heysham

Haywain I–IV, pen-and-wash drawings, 2016 by Tony Phillips

Tony is a figurative artist working across many disciplines, exploring various social themes through historical references, including: industrialisation, development of cities, colonisation, and the impact of commerce on human life. his work has been exhibited internationally, including: Tate Britain, Victoria and Albert Museum, Liverpool Biennial, and UK Arts Council. born in Liverpool, Tony studied art at Lancaster College of Art from which time he formed a close bond with Morecambe, where some of his family still live

in Haywain I, II, III, and IV, now part of Jwllrs permanent collection, Tony re-draws John Constable’s 1821 painting The Hay Wain — a rural scene and regarded as “Constable’s most famous image” — as the setting for significant industrial change. over a series of four watercolours, Tony presents a timeline of four technological revolutions: steam power, electricity, nuclear energy and digital culture, growing out of Constable’s idyllic setting of rural England

currently on display at: The Midland Hotel, Morecambe

Jennifer, pigment (from Florence Mine),Vaseline,
iroko, wood, 2016, Jocelyn McGregor

Jocelyn McGregor is an Ingleton-based artist. Her work aims to blur boundaries between real and imagined worlds, natural and manufactured environments. She creates ‘super’-natural hybridized bodies and spaces that encourage us to reconsider human hierarchy within the natural world and adopt a more holistic view of it if we are to move forward.

Jocelyn’s practice converges around an expanded approach to sculpture. She was selected for New Contemporaries, and has exhibited internationally, including Castlefield Gallery, Manchester; Primary Studios, Nottingham; and Museum of Natural History, Kharkiv.

Jennifer was produced during Jocelyn’s MFA Sculpture at the Slade. Plaster casts of the artist’s legs are coloured with hematite powder from Florence Mine, Egremont. Hematite, from the Greek word, ‘hema’, meaning blood, holds a superstitious association with life sustainment and with that, its opposite.

currently on display at: Briggs Shoes, Morecambe

Seaweed Cares &
Iron-ore slag washes up on the shore at Hest Bank
pencil on paper, 2025, Debbie Yare

Debbie Yare’s practice emerges from an embodied dialogue with Morecambe Bay, where she lives. working across media including photography, video, drawing, writing, performance and socially engaged practice

Debbie’s ‘Ecological Disaster Postcards’ are a series of hand-drawn pencil studies that emerged from her research project with Barrow Archives in 2025. discovering haunting photographs of a shipping disaster in a Sankey family postcard album, Debbie became interested in how postcards of the early 1900s commonly depicted disasters as a way of communicating everyday events, analogous with contemporary social media. leading Debbie to consider how we communicate the ecological crisis in the digital age

Debbie considers drawing an act of careful engagement and communication that connects us more intimately with ourselves and the world around us, perhaps also an antidote to information overload and social media fatigue

currently on display at: RNLI Shop, Morecambe

Division, plaster, 2023 + chosen object, Elizabeth Clough

Elizabeth is a Barrow-born, Morecambe based artist and designer working across a wide range of found, waste, and natural materials. Her practice merges tradition, heritage, myth, science and ecology through material and process-led learning. She has been widely commissioned including HM King Charles, Land Festival and Morecambe’s Deco Publique.

Elizabeth is intrigued by modern societies reliance on these same materials through mining and processing, and how the exploration of material processes have been central to its development/progress. for ‘Division’ – part of ‘Earthworks’ – Elizabeth experimented with plaster casting in clay using imprints of tools from craft or industrial processes. embracing and playing with transformations that occur during the casting process, where forms change from industrial to organic, new to old, familiar to unfamiliar. these changes reference natural processes of transformation - organic matter turning to stone, sand into glass, ocean sediment into gypsum.

currently on display at: BEACH, Morecambe

Botulism Repurposed, porcelain, 2025, Mia Roberts

Mia Roberts is an artist from Holyhead engaging with questions of class and gender. she takes up these questions in her handling of gender-coded materials, setting them against her experiences of living in rural settings. Botulism Repurposed pursues these enquiry lines in positioning a boxing glove not as a weapon, but as a carrier of memory and fiction. Roberts draws inspiration from Ursula K Le Guin’s essay The Carrier Bag Theory of Fiction to work care into heroism.

Robert’s practice studies the evolving microcultures of small towns in North Wales, paying close attention to local attitudes towards sexuality, masculinity, and mental health. installed in Morecambe Library, this work inflects these elements into Morecambe’s boxing heritage. it asks: how do we reconsider the expendability of history, memory, and masculinity in Morecambe?

Botulism Repurposed and selected contextual materials was chosen and curated by Morecambe-based curator Isobel Cawley

Untitled, oil on paper, 2026, Adam Rawlinson

Adam is a Manchester-based painter who grew up in Morecambe. taking what could be viewed as a purely abstract approach, Adam’s practice is underpinned by his passion for the natural world, particularly his research into Lichens. viewing his paintings are a constant shift between the physicality and process of paint, and a transition into a representation of micro and macro woodland. composition, application and colour distort/pull/stretch our sense of scale and depth. getting lost in the forest becomes pleasantly unsettling

there is a sincerity in Adam’s paintings, holding the expressive qualities of modernist abstraction, while his intense admiration for the natural world bleeds the existential crises of the contemporary condition. these ideas are at the root of Adam’s thinking, becoming an existential and phenomenological consideration of what it means to be ‘alive’

to be installed soon