SOURCE 2020/21



Find out more about the artists and their exhibitions taking place across 4 partner organisations:



3 JUN — 31 OCT

Zoe Forster © All rights reserved



Using the past to inform the present, a recreation of The Sankey Photo Albums and a celebration of West Coast Cumbria

A 16mm cinematic recreation of the Sankey Photo albums with a specific focus on West Coast Cumbria. Moving like the pages of a photo album, the film embodies the tactile nature of the photo album using film as the tactile medium. 

Captivated by materials and tangible objects, Zoe has merged together the tactile photo albums of The Sankey Collection and The West Coast of Cumbria that they document using 16mm film and the medium of projection to create a piece that exists outside of the exclusive gallery space and is inclusive of the ordinary people she has filmed. Being from the West Cumbrian Coastal town of Silloth, Zoe has a particular interest in the representation of these people, however she is not dismissive of the heritage and stories from further afield. Scale is a defining factor of this piece, recently she has been interested in the act of looking up at yourself or creating a piece that allows the ordinary people she works with to look up at themselves, in a celebratory manner – making them monumental. 

Not to be limited by analogue, she has unified both film and digital, therefore amplifying who can experience this piece by making it suitable for online viewing.

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Danielle Chappell Aspinwall © All rights reserved



Danielle’s fun interventions encourage conversation around mental health and her own creative neurodivergent motherhood journey. Respecting nature and hoping to inspire landfill reduction, she aims to lift spirits and help people feel connected.

To portray ways of taking notice of the now, connecting with nature for wellbeing through visual communication, to enhance conversation of loss and reconnection of identity after motherhood, and areas of barriers and struggles that parenthood, acceptance, post-natal depression and being neurodivergent, with opening doors to pastures new, going out on mini adventures, emerging yourself in a free space and feeling joy and freedom is something that many people can feel when escaping to their favourite local nature spot. Especially in lockdown. Demonstrating ways to battle confidence, isolation prior-during-post covid19, mother nature is important to engrain in our lives for a healthier living for wellbeing and making memories.

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Amy Johnson © All rights reserved



An exploration of the River Duddon, both remotely and in reality, through photography, collage and geocaching.

Digital photography and geocache.

William Wordsworth published ‘River Duddon, A Series of Sonnets’ in 1820. The work comprises of 34 sonnets mostly composed over a two year period. The river is a curious choice for such dedication and consideration. Wordsworth had great affection for this stretch of river, an affection that was rooted in fond memories from childhood and subsequent explorations as an adult. Readers of his work often feel compelled to track the course of the rivers, to trace the route and to search for the physical embodiments of the poems.

I decided to find my own River Duddon in my immediate surroundings. A place that might be regarded as unexceptional and insignificant. I found Lowca Beck, a river in West Cumbria that in many ways is unlike the River Duddon. It’s a small seemingly unremarkable beck that passes through a post-industrial landscape, alongside a busy dual- carriageway, before reaching the sea. Through exploration and photography the work reflects on the representation of place in art, memory and imagination.  Physical representations of the poems have been left at two sites, one at Lowca Beck and one in the woodland at Wordsworth Trust and can be found via geocache.

Katrin Joost © All rights reserved



River Time: Echoing Wordsworth’s musings on the Duddon, my photographs depict less the river’s likeness but rather my time looking, beckoning the viewer to gaze into the water, the river, time itself.

Rivers are a metaphor for the flow of time. The movement of the river stands in contrast to the stillness of the landscape and gives rise to contemplations on the juxtaposition of change and permanence. Our individual lives drift through a landscape of reliability and routine. Yet things change.

This work is reflecting on the nature of time, the essential changeability and limitation of our lifetimes. Looking at the ever-shifting water as it moves and shapes the land it touches, the images portray time spent by the water, lingering in the landscape. 

Some images are created using the panorama function on an iPhone, where the process of taking the picture takes up to several minutes. The resulting images depict less the likeness of a landscape but aim to visualise the time looking at the flow of the water. 

Some images portray smaller, shorter moments, inviting the viewer to take time gazing closer into the water, the river, time. 

This work is echoing some of William Wordsworth’s more transcendental musings on temporality and eternity contemplating the river Duddon trickling, flowing, rolling through the valley and on into the sea. 

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Chris Dennet © All rights reserved



I make interactive contraptions and web apps to encourage people to play, rather than passively observe; providing an opportunity to sidestep normality and muck about for a spell.

An online game generated from artwork painted by users.  In the game you play a Tizzie Whizie (part hedgehog, part dragonfly, part otter) skimming over Windermere dodging boats, islands and legends to collect as many as you can.  You, the background and all these game elements are extracted from a printed template, painted and uploaded by you, the player.

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Jennifer McMillan © All rights reserved



Shadow Clock is illustrated by the shadows cast by a female body and poetically personifies time by travelling through the history and collections of Tullie House.

Using video, light, and projection I challenge our perception of time and the way we feel time. Using the shadows projected from my body I have created a clock. Shadow Clock also poetically personifies time by travelling through the history and eras of the collections of Tullie House. During the exhibition, the audience will be invited to create their own shadow clocks. These shadow clocks will be recorded and composed to create a collective clock as a way of archiving the time given to Tullie House from its audience.  

As an artist I am interested in the expectations forced upon society and the idea of femininity. I seek to discover how social constructs of femininity are embedded in culture, art and time. In particular, I am interested in ideas of temporality, ownership and possession, and the ways in which these ideas have become associated with femininity. 

Through the manipulation of light, shadow and time Shadow Clock questions our control over what we observe. The personification of time explores the history and eras of the collections of Tullie House. It also explores feelings, perceptions and definitions of time. 

The ‘collective shadow clock’, that the audience is invited to create and participate in will be a composition of collective video recordings, will visually represent an archive of the time given to Tullie House from its audience.  

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Eleanor Chaney © All rights reserved



Working with the Nature Collection at Tullie House, Eleanor explored some of the people and stories behind these objects. Could digital interventions create a space to ask new questions and tell more stories?

Inspired by the stories of the female naturalists who contributed to the Tullie House collection, using paper sculpture, animation and film making to explore their work, and to discuss the social barriers faced at the time.

Eleanor will be creating paper sculptures inspired by specimens in the collection, which will contain QR codes linking to short films exploring the stories of these objects and their collectors, our changing attitudes to the natural world through the 20th century and the ethical questions that arise when we look at these stories. Her hope is that through experiencing the work, visitors will look at the objects displayed with new questions about the individuals who created them, and the society in which these people lived. Could digital interventions create a space to ask new questions and tell more stories?

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