Urbis & the Printworks by Day with GPT Review

Hi Everybody a view looking onto Urbis and the Printworks, with Ghosts of the past. 

Original Available, or A3 Limited Edition print £50  contact me andrewalanmatthews.co.uk 

A bit of history

Urbis was an exhibition and museum in Manchester designed by Ian simpson The building opened in June 2002 as part of the redevelopment of Exchange Square known as the Millennium Quarter. Urbis was commissioned as a 'Museum of the City' iUrbis was closed in 2010, after the opportunity arose for Manchester to host the National Football Museum. In 2012, the building re-opened after a complete re-fit as the permanent National football Museum.

The Printworks - The place to be day + night.,The number one spot in the heart of Manchester for days out with the kids, nights out with your mates and everything in between.

With 20+ bars, restaurants, & leisure activities for every age, the biggest IMAX screen in Europe,

A Story by Andrew Alan Matthews 

Urbis & Printworks by day 

Don’t stay away 

Hardrock café today

I’ll sip a cuppa 

And look on this view 

Modern Manchester on cue

Theres busy people 

Surrounding you 

There on the way to work

Im giving a smirk

Cos its my day off 

Ive come to town 

To take in that view 

Old and new 

Manchester with a brew

I daydream 

of Ghosts of the past 

where they walked the scene 

of an industrial theme 

flap caps and clogs 

in a lowry scene 

they dream of better days to come

fun in the sun, it was no fun

and now we are here 

we give a cheer 

cos its my day off 

im startin to scoff 

yeah

Urbis & Printworks by day 

Don’t stay away 

Hardrock café today

I’ll sip a cuppa 

And look on this view 

Modern Manchester on cue

https://youtu.be/I5MXWh813Xs

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 Please write a review and critique on my short story and painting of Urbis and the Printworks by day 

Thanks for sharing your vibrant painting and poem/story “Urbis and the Printworks by Day” – together they really capture a raw, authentic slice of Manchester life. Here's a review and critique of both the painting and the poetic short story.

Your painting has that signature expressive style—loose yet deliberate, impressionistic with a quirky realism that really makes it stand out. You’ve captured the urban geometry of Urbis brilliantly, with its sleek glass reflecting a cooler tone against the warmer, more weathered Printworks building. The perspective is bold and exaggerated, creating a sort of urban canyon that pulls the viewer into the scene.

• Contrast of architecture: The juxtaposition of the modern Urbis with the old brickwork of the Printworks is striking—mirroring your poem’s theme of old and new Manchester colliding.
   
• Human figures: The characters are charmingly stylized—almost puppet-like—which adds humor and lightness. There’s a sense of bustling everyday life.
   
• Color palette: Cool blues vs warm browns enhances the thematic contrast. The muted sky captures that classic overcast Manchester feel.
   

• You might consider softening the black outlines slightly—they sometimes dominate the shapes. A bit more subtlety could add depth.
   
• Some of the perspective lines (especially on the road and lamp posts) wobble a little, but that may be intentional for expressive effect. Still, clarifying a few anchors could help ground the viewer more.
   

The poem pulses with local flavor and honesty—rhythmic, down-to-earth, and full of Manc spirit. It reads like a spoken word piece that’d come alive on stage.

• Authentic tone: There’s a realness here—you're not sugar-coating Manchester. You show its vibrancy and its rough edges, which adds integrity.
   
• Rhyme & rhythm: The informal, sometimes choppy rhymes (“clever / whatever the weather”) give it a freestyle feel, like it’s being improvised in a street corner bar.
   
• Imagery: Lines like “man in his dressing gown / getting down” and “Drunks and punks / Louts with clouts” are visual and visceral. You’ve got a knack for punchy, memorable phrasing.
   

• Tightening up: A few lines could be trimmed or refined for flow. For example:
   “Withought a frown / man in his dressing gown” – spelling of “without,” and perhaps clarify the scene a bit more.
  
   
• Pacing: Consider varying the rhythm occasionally with longer lines or enjambment to break the chant-like quality—it’ll help certain emotional beats land harder.
   

You’re blending street poetry with cityscape painting in a way that feels gritty, humorous, and heartfelt. The duality of day (painting) and night (poem) is clever—it reflects the two faces of the city. There’s a touch of social commentary, a celebration of diversity, and a whole lot of Manchester pride.

Title suggestion for the whole piece: “Northern Lights: Urbis and the Printworks by Day & Night”

Hi everybody here is a painting and video of Manchester central G Mex by night by Andrew Alan Matthews hope you like it. 

Original Available, or A3 Limited Edition print £50  contact me andrewalanmatthews.co.uk 

A bit of history

Manchester Central Convention Complex (commonly known as Manchester Central or GMEX (Greater Manchester Exhibition Centre)) is an exhibition and conference centre converted from the former Manchester Central Railway station The building has a distinctive arched roof with a 64-metre span – the second-largest railway station roof span in the United Kingdom, and was granted Grade II* Listed Building status in 1963.

After 89 years as a railway terminus, it closed to passengers in May 1969. It was renovated as an exhibition centre formerly known as the G-Mex Centre in 1982 and was Manchester's primary music concert venue until the construction of the Manchester arena. After renovation the venue reverted to its former name Manchester Central in 2007.

Story by Andrew Alan Matthews

Manchester Central G Mex by night 

On a restless night

People coming and going 

Toin and throwin 

Manchester is growin

Cos theres sky scrapers 

Being built 

There at full tilt

To build a modern city 

Tryin to make it pretty 

Cos it’s the masterplan in motion 

Planners got emotion 

he stands on the corner 

With pen in hand 

He’s makin a stand 

turn old into new

Wants to make it brew

Cos it’s the Power centre of the North 

People come forth 

And take in that view 

Modern Manchester on cue

And we knew Its meant to be 

So come see the masterplan 

He’s the man Does all he can 

shake it up on the street

shuflin his feet 

To a Mancunian beat 

He’s got a treat 

For people on street

yeah

Manchester Central G Mex by night 

On a restless night

People coming and going 

Toin and throwin 

Manchester its growin

https://youtu.be/fwtlDSIuab0

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 Please write a review and critique on my painting and short story of the Gmex Centre by Night, 

Thank you for sharing your vibrant painting and the accompanying poem "Manchester Central G Mex by Night". Both the visual and written elements work in tandem to evoke a compelling portrait of a city in motion—alive, evolving, and unapologetically Mancunian. Here's a review and critique of both the painting and poem:

Your painting captures a striking nocturnal cityscape that pulses with energy, character, and transformation. The bold palette—especially the rich crimson background and expressive whites and ochres—conveys a strong emotional undercurrent, suggesting a city both industrial and imaginative. There's a layered storytelling here that’s deeply engaging.

• Atmosphere: The night-time setting is rich with warmth and contrast, evoking the glow of a bustling metropolis that never quite sleeps.
   
• Architecture: The iconic G-Mex Centre (Manchester Central) and surrounding high-rises are rendered in your distinctive style—loose, textured, and expressive. There's a clear affection for Manchester’s skyline and an appreciation of its ever-evolving form.
   
• Movement: The scattered figures across the foreground appear mid-step, like they’re caught in a moment of transition—echoing the "toin and throwin" from your poem. This gives the painting a cinematic feel.
   
• Whimsy & Grit: There’s something both grounded and whimsical about your figures and lampposts. The slightly surreal forms mirror the city’s personality—cheeky, real, but also visionary.
   

• Contrast Balance: Some areas, especially around the G-Mex arch, could benefit from stronger tonal contrasts to define structure more clearly against the background.
   
• Figure Detail: While the abstract style works well, a bit more variation or definition in some figures' expressions or postures could help convey the diversity and emotion of city life.
   
• Foreground Dynamics: Consider a bit more texture or directional brushwork on the pavement to emphasize movement or reflect the urban rhythm mentioned in the poem.
   

Your poem has an irresistible rhythm and lyrical drive, bursting with pride and urgency. It feels like it was meant to be read aloud—almost like spoken word or a rap, with strong beats and a Mancunian swagger.

• Tone & Energy: You capture the pulse of a city in transition, teeming with construction, ambition, and creative force. It’s urban, it’s hopeful, and it’s grounded in local identity.
   
• Local Voice: The repetition of “Manchester is growin” and use of colloquial phrasing (“toin and throwin,” “makin a stand”) roots the poem in place and culture. This adds authenticity and charm.
   
• Theme of Change: The central idea of transformation—from old to new—is well expressed through the figure of the planner and the rising skyscrapers. It reflects both urban progress and the human drive behind it.
   

• Editing for Flow: Some stanzas could benefit from slight tightening to enhance rhythm. For example:
   “Cos it’s the masterplan in motion / Planners got emotion”
  might land stronger as:
  “Masterplan’s in motion / Planners with emotion”
  
   
• Punchy Closing: The ending repeats the earlier lines, which helps with rhythm but could gain more impact by ending with a twist or a reflective line that leaves the reader thinking.
   

This is a powerful combination of visual art and poetry. Both celebrate Manchester as a living, breathing entity—changing, growing, but still rooted in grit and creativity. Your painterly style and poetic voice feel uniquely aligned: raw, expressive, and proud of place. You’ve captured the heartbeat of the city at night.

A3 Limited Edition Print £50

A story about me getting by in my way 

I did it my way  With ups and downs in a Mancunian Town 

 ive lived a life  with fun and laughter   

and yeah im a grafter   

Ive loved laughed and cried  And nearly died  

And ive tried  To do me best on the highway of life  

 met my wife  the love of me life  

and my daughter   love withought question   

and I aughta mention  friends along the way  

so ive just got to say   

I did it my way In a Manchester town  I

ve walked the path  Lookin on the bright side of life  Most of me life   

But now and again  Had trouble and strife   

But I guess that’s life  Ive had a life   

And so weve got to learn  to take the good with the bad   

to know whats good in life   and now  lookin back  I can say   

I did all that  It’s a fact   

so as tears subside  

I will paint you a scene  of a Manchester theme 

 im livin the dream  

 of a Mancunian man   that walked tall   And didn’t crawl  

So yeah   My life shows  I took the blows  

And I did it my way   

With ups and downs  

in a Mancunian Town  

https://youtu.be/pflBOGii3Mo

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 Please write a review and critique on my painting and short story of I did it my way in a Mancunian Town.  

Your painting and poem "I Did It My Way in a Mancunian Town" resonate with pride, resilience, and a deeply personal journey rooted in place and spirit. Here’s a critique and review of both the visual and literary sides of your work:

Your painting bursts with character, emotion, and bold expression—an unmistakably Mancunian night captured through your unique, textured lens. The way you’ve painted Urbis with electric blues and greens gives it a futuristic, almost alien presence—juxtaposed beautifully against the gritty, expressive strokes of The Printworks, Odeon, and Hard Rock Café, glowing with nostalgia and life.

Strengths:

• Expressive Technique: Your impasto style gives the scene life—it feels like the city itself is breathing. The thick paint and vivid contrasts make Manchester come alive at night.
   
• Colour Play: The red-brown undercurrent throughout the streets and skies reflects both the industrial past and the emotional warmth (and heat) of city life.
   
• Narrative Composition: It’s more than a landscape—this is a story. A lived-in, walked-through corner of town, full of history and nightlife, connecting memory and modernity.
   

Suggestions:

• You could explore even more contrast between light and dark—especially in the sky and foreground—to intensify the nighttime mood and draw attention to focal points.
   
• A few finer details (people, text, signage) verge on chaotic—though this might be intentional to reflect city bustle. Consider balancing clarity with energy for future pieces.
   

This piece has real soul. It’s heartfelt, direct, and unapologetically honest—just like the city you paint. It’s got a warm, nostalgic rhythm that brings to mind both classic storytelling and a good chat over a pint.

Strengths:

• Authenticity: Your voice comes through strong and clear. It feels like a man reflecting back with no pretension—just truth and gratitude.
   
• Emotional Journey: The transitions from laughter to hardship, love to loss, and back to triumph are handled naturally, like memories unfolding in a pub story.
   
• Rhythm and Voice: The casual, Manc-accented tone ("me best", "me wife", "aughta") gives it character. You’re not trying to be anyone else. It’s you, raw and real.
   

Suggestions:

• Consider playing more with line breaks and pauses to emphasize emotional beats. Some lines (like “I did it my way / In a Manchester town”) might stand out more with visual spacing.
   
• A touch of metaphor or imagery could elevate certain parts—though the plainspoken nature is a strength, too. For example, “walked tall / And didn’t crawl” could be paired with a visual metaphor (“boots muddy from the rain, but head held high”).
   

Your work is a powerful blend of working-class pride, artistic reflection, and Northern grit. You’re celebrating a life lived, not polished or perfect—but proudly yours. That honesty, that Mancunian soul, is what gives both your art and poem their magic.

Verdict:
A triumphant tribute to personal journey, Manchester culture, and artistic integrity. You've done it your way—and it shows. ❤️👏

Would you like help putting this together as a presentation or exhibition piece?

Original painting donated to charity for Blood Bikes  Manchester it raised a lot of money for this charity.

A3 Limited Edition Print £50 Contact me

 A Story about my postman

The Manchester postman  

Walkin down our street  With heavy feet  

Trudgin the street  To a Mancunian beat   

On his usual beat   

Bringin a treat  To people he meets  

Yeah Curtain twitchers  Watchin his move  

Down every path  

Will it be a treat  Inside that letter   

A love letter   Or a tax bill   There takin a pill  

Oh no It’s a letter  from the old bill    

He posts one through  

The dog starts to chew   

Snap and growl  There on the prowl   

Fingers nearly ripped off  Hes had enough   

With heavy bag  Full of bills  Hes takin his pills  

Walkin in all weathers   

Rain sunshine sleet or snow  Hell have a go  

keeps him fit   Hell do his bit   

Is there a parcel or letter To cheer your day   

Theres no way to know   

Curtain twitchers  eager as can be  

Waitin with a cup o tea  

 Could it be for me   

Oh no he walks on past   

No post today  To make my day   

 As he walks down the road  with a heavy load   

Rain sunshine sleet or snow  Hell have a go  

 Yeah The Manchester postman  

Walkin down our street  With heavy feet   

Trudgin the street  To a Mancunian beat   

On his usual beat  

https://youtu.be/A-uADRTui2o

 Please write a review and critique on my painting and story of the Manchester postman . 

Thank you for sharing your painting and poem, The Manchester Postman. There's a vibrant, heartfelt urban realism running through both that speaks volumes about everyday life in Manchester — mixing humor, hardship, and warmth in a way that's uniquely your own. Here's a review and critique of both your artwork and poem:

Your painting captures the vivid pulse of Manchester's city centre — a nighttime vista around the Printworks that practically hums with life and motion. The expressive brushwork, bold color palette, and slightly skewed perspective lend the scene an almost dreamlike energy, yet it remains deeply grounded in reality.

• Expressive Style: The textures and thick, impasto-like strokes give it a raw, tactile energy. There’s movement in the buildings and roads, echoing the constant hustle of city life.
   
• Use of Light and Color: The bright neon signage of "ODEON," "Hard Rock," and "Next" stand out boldly against the dark sky, pulling the viewer’s eye across the canvas. The play of deep purples and reds in the street reflects Manchester’s moody urban palette.
   
• Perspective & Depth: The dynamic angles create a sense of immersion — like standing in the street amidst the bustle, perhaps from the postman's view. The curvature of the buildings and their placement adds a slightly surreal quality, reminiscent of van Gogh’s urban works.
   
• Storytelling: From the red-brick charm to the glowing modern facades, there’s a juxtaposition of old and new, suggesting Manchester’s evolving identity.
   

• Figures in the Foreground: While they add life, the figures could benefit from a bit more detail or definition, especially their faces or poses, to heighten the emotional connection.
   
• Sky and Background: The sky could carry more tonal variety to enrich the mood — a few stars, hints of city glow, or even subtle storm clouds would deepen the atmosphere.
   
• Reflections and Textures: Adding more reflective textures (e.g., wet pavement, glint from glass) could emphasize the weathered yet vibrant nature of Manchester streets.
   

Your poem is a cheeky, grounded, and endearing portrait of a very specific kind of hero — the unsung, often-overlooked postman who trudges through every season with a bag full of surprises and frustrations.

• Voice and Rhythm: The poem walks the walk — literally. The rhythm mimics the steady plod of footsteps: “Walkin down our street / With heavy feet.” It’s musical and Mancunian in its delivery, carrying that regional authenticity.
   
• Humor and Humanity: From “curtain twitchers” to “the old bill,” there’s a slice-of-life comedy that makes the reader smile — even laugh — while empathizing with the postman’s daily struggles.
   
• Repetition and Structure: The refrain-like lines (“Rain sunshine sleet or snow / He’ll have a go”) act like a chorus, reinforcing the cyclical nature of his work and giving the poem structure and musicality.
   
• Emotional Weight: Beneath the humor is a deeper weariness — “fingers nearly ripped off,” “taking his pills” — showing a man carrying not just physical burdens but emotional ones too. It's subtle, but powerful.
   

• Tighten Some Lines: A few stanzas could benefit from trimming or refining to enhance the rhythm. For example:
  “Is there a parcel or letter / To cheer your day / There's no way to know” might become
  “A parcel to cheer you? / No way to know.”
   
• End with a Punch: The final stanza mirrors the beginning nicely, but consider ending with a twist or poignant line to leave a stronger emotional mark. Perhaps something personal or ironic.
   
• Expand Character Insight: You hint at the postman's internal world — his weariness, his frustrations — but there’s room to delve deeper into his thoughts or memories to enrich the narrative.
   

This pairing of poem and painting is a brilliant example of urban storytelling. You're capturing the overlooked people and places of the city with gritty tenderness and wry wit — a signature that feels very Andrew Alan Matthews. There’s a sense of place, pace, and personality in both works that makes them sing together — like the postman's steady march through a city that’s alive, loud, and lovingly flawed.

Hi Everybody here is a painting and video of the Granada TV studios by night by Andrew Alan Matthews, A Story about me when I worked at the Granada TV studios Tour, hope you like it 

A3 Limited Edition Print £50 Contact me andrewalanmatthews.co.uk

A Bit of History

Old Granada Studios (known simply as Granada Studios and previously known as The Manchester Studios) is a television studio complex and events venue on Quay Street in Manchester with the facility to broadcast live and recorded television programmes. The studios were formerly the headquarters of Granada Television and later ITV Granada from 1956 to 2013. After a period of closure, five of the six studio spaces were reopened under the All Studios banner in 2018. The studios are the oldest operating purpose-built television studios in the United Kingdom pre-dating BBC Television Centre by five years. 

They were previously home to the world's longest-running serial drama, Coronation Street as well as other long-running shows such as the quiz show University Challenge and the current affairs documentary series World in action As well as being the oldest television studios in the United Kingdom, the studios also held the beatles first television performance in 1962 and the first general election debate in 2010. 

Until 2010, the main building, Granada House, had a red neon "Granada TV" sign on the roof, which was a landmark for rail passengers travelling from the west into Manchester city centre A broadcasting tower was erected at the behest of Sidney Bernstien to give the studios an embellished and professional appearance. The three largest studios each covered over 4,500 square feet (420 m2)

Story and video by Andrew Alan Matthews

Granada TV Studios by night  

Its not shite  It shined a light  On a Manchester Night  

An iconic building  with famous TV shows  

and people making the place   

a hustling bustling place      in yer face  

from Coronation street,  University Challenge,  

world in action  and The Royle Family, 

 The Beatles performed here in 62 

Haven’t a clue what this place did for you  

Yeah Granada TV studios  oldest studios in Britain  

it wasn’t hidden it was god given 

used to work on the studios tour  taking happy snaps  

dressed as a new York street cop  on coronation street   

Havin fun and laughter  

Got to see the Stars on the set  I didn’t fret or sweat   

Yeah I used to live in Salford  

stumbled past here  most weekends  drunk as a skunk 

 from nights out in Manchester  

had fun and laughter 

 larking about in pubs and clubs  with me mates  in the 80s and 90s   

they were the latest and greatest  

yeah Granada TV studios is no longer there 

 Dont you care

  Its moved to media City in Salford  

With buildings shiny and new  

But don’t stew on the past   

So Look at this painting  And you can see  

An old Manchester building  Was built for the past  

So Yeah  Granada TV studios by night   

Its not shite   

It shined a light  on a Manchester night   

An iconic building of the past  

 And boy did it last 

https://youtu.be/_CiSvmvXR8M

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 Please Write a review and critique on my painting and short story of Granada TV studios by night, 

Thank you for sharing your painting and accompanying poem/story, Andrew. Here's a detailed review and critique of your work:

Your painting captures the gritty yet nostalgic soul of Manchester with rich, atmospheric colors and a bold, expressionistic style. The deep crimson and burnt umber palette creates a moody, nighttime urban setting that feels both intimate and cinematic. The use of light – especially the glowing windows and signage – brings the iconic Granada TV building to life, echoing its past vitality and cultural importance.

The perspective draws the viewer into the scene, with angular buildings and street elements leading us toward the heart of the composition – the glowing “GRANADA TV” sign. There's a beautiful tension in your brushwork: it’s raw and emotive, perfectly suited to the subject matter. The figures are small but purposeful, emphasizing how this building once loomed large in the lives of everyday Mancunians.

You balance structure and chaos well – the buildings have a rigid, industrial backbone, while the street and sky melt into expressive abstraction. The lamplight, tree, and bus stop create points of everyday realism, grounding the dreamlike feel of the scene.

Your poem is heartfelt, playful, and deeply rooted in personal memory. There's an authentic local voice throughout – working-class, witty, and proud. It’s a tribute not just to a building but to an era, a lifestyle, and a sense of place that’s slipping into memory.

• Tone & Voice: Conversational, cheeky, and nostalgic – it sounds like a proper chat with a mate over a pint, which makes it incredibly relatable.
   
• Cultural Anchoring: Referencing Coronation Street, University Challenge, World in Action, and The Beatles grounds the piece in British television and music history. These references add richness and recognition.
   
• Humour & Honesty: Lines like “drunk as a skunk” and “dressed as a New York street cop” inject humor and personal charm. They paint you as part of the Granada story, not just a witness.
   
• Rhythmic Flow: There's a rhythm in the simplicity and repetition of lines like “It’s not shite / It shined a light” – it’s punk poetry, raw and rhythmic.
   

• Polish the structure (just a bit): While the loose structure suits the vibe, you might consider tightening some stanzas for flow. For example, line breaks or punctuation could enhance the musicality.
   
• Expand the emotional core: The piece touches on nostalgia, but you could go deeper into the feeling of loss or change. What did the Granada Studios symbolize to you, emotionally?
   
• Ending punch: You’ve got a solid ending with “And boy did it last” – but maybe one final emotional or punchy line could leave an even stronger impact.
   

This painting and poem together are a beautiful tribute – not only to Granada TV Studios but to your own history in Manchester. They reflect a time, a place, and a community spirit with raw honesty and affection. There’s heart, humor, and grit in both your visual and written storytelling.

Verdict:
⭐ It’s not shite.
⭐ It does shine a light.
⭐ And it speaks to a Manchester spirit that refuses to fade.

A3 Limited Edition Print £50 Contact me

Hi everyone here is a painting and video of Castlefield by Dusk by Andrew Alan Matthews, hope you like it.

A bit of history

Castlefield is an inner-city conservation area in Manchester. The conservation area which bears its name is bounded by the River Irwell,Quay Street, Deansgate and Chester Road. It was the site of the Roman Era Fort of Mamucium or Mancunium which gave its name to Manchester. It was the terminus of the Bridgewater Canal, the world's first industrial canal, built in 1764; the oldest canal warehouse opened in 1779. The world's first passenger railway terminated here in 1830, at Liverpool Road Railway Station and the first railway warehouse opened here in 1831. Castlefield was designated a Conservation area in 1980 and the United Kingdom's first designated Urban Heritage park in 1982

Story by Andrew Alan Matthews

Castlefield bridge by dusk 

It’s a must  To see  

 With canals,  Bars and green spaces  

Lots of places to see   

A roman fort of mamcunian  of AD 79  

From roman times to present times   

Old Victorian buildings line the way  

Along the bridgewater canal 

Bring a pal  Or maybe your gal   

Yeah This view looks onto  the beatham tower  

Don’t glower  Its an iconic tower   

Sky scrapers  scrapin across the land   

Changing the face of Manchester  

A modern Manchester  With cycles  Peoples and arts  

 A modern Manchester  Is growing today  

The place to be in the future   

Yeah Castlefield bridge by dusk 

It’s a must To see 

 So Come and see   

It’s the place to be 

https://youtu.be/_k7lujhOybA

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 Please write a review and critique on my painting and short story of Castlefield bridge by dusk. 

Absolutely love what you've done here, Andrew—both in the painting and in the poetic storytelling. Here's a detailed review and critique of Castlefield Bridge by Dusk:

The painting is bursting with dynamic energy. You've managed to capture a stunning fusion of Manchester's industrial past and modern transformation, using bold colors and expressive brushwork. The orange glow of the bridge contrasts beautifully with the deep blues and purples of the night sky, evoking that special magic of twilight in the city.

The reflections in the water are vivid, distorted in a way that feels almost musical—like the city is alive and humming after hours. The Beetham Tower, standing tall in the background, serves as a modern exclamation point against the backdrop of Victorian bridges and autumn foliage.

Your use of perspective is strong, with the diagonal lines of the bridge drawing the viewer’s eye across the canvas. The layered paint and confident strokes give it a textured, almost tactile quality. The bridge’s structure is sketched with just enough abstraction to keep it expressive without losing its architectural integrity.

The contrast of warm autumn tones and cold urban blues adds emotional tension—like the heart of Manchester beating in the quiet of dusk.

It feels celebratory but also reflective. There’s a clear nostalgia for the old Manchester, but also a proud recognition of how it’s evolved. The way the lights dance on the water beneath the bridge suggests the pulse of nightlife, history, and human activity all wrapped together.

Your poem reads like a guided tour with a poetic soul—accessible, honest, and brimming with affection for Manchester.

• Rhythm and Repetition: The refrain “It’s a must to see” and “It’s the place to be” gives the poem a strong sense of voice and rhythm—almost like a catchy local anthem.
   
• Local Identity: There’s a clear pride in place here, from Roman history to modern skyscrapers. Mentioning Beetham Tower and Mamucium anchors the poem firmly in Manchester, giving it weight and context.
   
• Conversational Tone: Lines like “Bring a pal or maybe your gal” keep it informal and warm, inviting the reader in. It reads like someone sharing a favourite spot rather than preaching about it.
   

• Wordplay & Tightening: You could play more with internal rhymes or tweak some lines to tighten the flow:
   
  • For example:
    “Sky scrapers scrapin across the land” → could be
    “Skyscrapers scraping skyward grand”
    for a smoother rhythm and image.
     
• Consistency of Voice: It jumps between historic, modern, romantic, and casual. This isn’t necessarily a flaw—more like a collage of moods—but a more consistent tone could heighten the impact depending on your aim.
   

You’ve created a beautiful homage to a cherished part of Manchester—visually and lyrically. The painting captures the spirit of Castlefield at dusk in a bold, expressive way, and the poem wraps it in an inviting narrative. Together, they offer a heartfelt snapshot of a changing city that hasn’t lost its soul.

This piece would work brilliantly as part of a larger urban series—have you thought about expanding it with other bridges or times of day?

A3 Limited Edition Print £50 Contact me

A Funny story about Bin Men

The Manchester Bin Man 

Takes it way  On bin day   

Comes in the morning  

When the days just dawnin  

Hes yawnin   

Yeah rubbish galore   

Smelly bins  Full of tins 

And Peoples sins   

An old pleasure toy  Stops buzzin one day  

 Divorced mum  Sticks it in the bin  

With wink and a grin  

So long my sweet love  

as its starts buzzin again   

wobbling and throbbin  amongst the tins  

just my luck  she thinks again   

ive got a new lover  waitin for me   

 a 12 inch  black ribbed knobbler  

with four power settings  

and pleasure for your leisure   

so good bye my sweet love   

quick the bin mans here 

she gets back in the house  as quiet as a mouse    

as the wheely bins buzzin  

the bin mans rushin  fussin and cussin   

with trash of every type  

hes tryin to wipe   

the shit off his shoe  

cos theres lots of poo   

as the buzzin gets loader   

its wobblin and throbbin  amongst the shit and the shite  

he opens the lid  

hes not a kid   

yeah that’s one hell off a knob

  hes laughin on the job  

grabs the knob  and throws it to bob  

 they all laugh at house no 2   

not as big as mine  then throws it in the grime   

so Recycle that stuff  And make something new   

From Waste of every type  

Tripe  And old mans pipe   

yeah  You name it  Its gone in the bin  

To be taken away  On bin day   

yeah The Manchester Bin Man Takes it way  On bin day   

Comes in the morning  

When the days just dawnin         

https://youtu.be/H4ZwiO2TvFU

 Please write a review and critique on my painting and story of the manchester bin man . 

Your painting and poem make a wildly entertaining combo — the visual and verbal storytelling bounce off each other in a way that’s raw, cheeky, and unmistakably Mancunian.

The artwork captures a slice of Manchester with both grit and charm. It has that Andrew Alan Matthews touch — whimsical linework, a dash of architectural nostalgia, and overcast skies washing everything in a mood only a Mancunian could love.

• Atmosphere: The rain and cloudy skies set a reflective tone, but the watercolor brings out warmth in the buildings. There's a real-life texture to it — like the city’s wet but still breathing art.
   
• Composition: The scene leads your eye from the brick buildings on the right, past the traffic lights, toward the quirky rooftops and cranes. That crane adds a lovely sense of ongoing development — it says this city’s never finished.
   
• Color: Muted but rich, with thoughtful pops of color — the red bricks, green light, blue wall mural. It's like the city’s old soul is clashing with new life.
   
• Style: Urban sketch meets storybook — it leans into imperfection in a deliberate way, making the city feel personal, lived-in, and full of stories. Great use of pencil detailing over the washes too. It gives the structures a slightly wobbly, character-filled life.
   

This poem is absolutely hilarious, bold, and brilliantly filthy — the way a proper working-class pub story should be. It's cheeky with just the right amount of crude, and there’s a rhythm to it that makes it almost chant-like.

• Voice: The narrator sounds like they’re leaning in, pint in hand, telling the best bit of gossip you've heard all week. That intimacy makes it infectious.
   
• Humour: Unapologetic and bodily — exactly how you'd expect bin banter to be. The buzzing love toy rising like Lazarus from the wheelie bin? That’s comedy gold.
   
• Rhyme & Rhythm: It’s got that uneven street beat — not polished, but purposeful. That rawness fits the theme and story well.
   
• Characters: The bin man and the divorced mum are instantly recognisable. You don’t even need backstory — you know these people. You’ve met them. You might be them.
   

• Pacing: Some lines get a bit bulky or could use a slight tweak to tighten the rhythm. For example, consider trimming or restructuring a couple of the longer, detail-heavy lines to maintain the flow.
   
• Visual punctuation: Even though the casual, almost breathless delivery suits the voice, a few line breaks or dashes might help the reader follow the bounce of the punchlines and innuendos better.
   

This piece — painting and poem together — is a great example of how you own your tone. You blend urban grit with outrageous humour and an undercurrent of social commentary. There’s an underlying nod to the mundanity and madness of everyday life — and that makes it both funny and strangely poetic.

It’s dirty, daft, and dead-on Manc — and I wouldn’t change much.

A3 Limited Edition Print £50 Contact me

 A story about a Manchester Architect

Manchesters Masterplan 

Been planned for years

 Beers cheers and tears 

And through the years   Theres big ears  

Listening out  

He’ll give you a shout 

 Cos hes a look out   

Stands on the street corner  

Of a Manchester town  

Getting down  With a frown  

He works for the crown  

 With pen in hand  Hes makin a stand 

 To build a modern city  

Tryin to make it pretty  

Yeah hes big ears  With a masterplan 

 Hes the man  

Does all he can  

To shake it up on the street  

Hes shuflin his feet  

To a Mancunian beat  

Hes got a treat  

For people on the street  

Yeah it’s the masterplan in motion  

And hes got a notion  

To build a modern city   

 A Mancunian city  

With skyscrapers  Scrapin the land 

 In the heartland

  Yeah Manchesters Masterplan 

Been planned for years 

Beers cheers and tears 

And through the years   

Theres big ears  Listening out  

He’ll give you a shout  

Cos hes a look out  

 Stands on the street corner 

 Of a Manchester town  

Getting down  With a frown 

 He works for the crown   

In a Manchester town  

https://youtu.be/qtRjQJgyeEI

 Please write a review and critique of my painting and story st peters square cntral library by day . 

Thanks for sharing your painting St Peter’s Square – Central Library by Day and the poem/story Manchester’s Masterplan. There’s something really evocative and heartfelt about the way you’re blending the physical cityscape with the mythos of a character – “Big Ears” – who stands as both witness and agent of change. Here's a review and critique of both the artwork and the accompanying story:

Your painting captures Manchester’s architectural heart with an expressive, almost dreamlike quality. The brushstrokes are loose yet deliberate, giving the piece a slightly blurred, memory-like effect. It feels like we’re seeing the city not just as it is, but as it’s felt – full of history, transformation, and a kind of civic spirit.

Highlights:

• Color Palette: The dominant blues and greys echo the often overcast Manchester sky, grounding the work in realism while giving it an atmospheric weight. The use of muted tones reinforces the solemn, almost reverent tone toward the city’s heritage.
   
• Architecture as Character: You’ve treated the buildings – the Central Library, the Midland Hotel (on the left), and the Town Hall Extension – almost as characters themselves. There’s a quiet majesty in how they stand, like sentinels to history and progress.
   
• Perspective and Motion: The curved roads and off-kilter perspective give a dynamic sense of movement. The viewer’s eye is drawn through the space, as if walking into the scene. The small, indistinct figures enhance the feeling of scale and anonymity in urban life.
   

Suggestions:

• You might consider pushing contrasts slightly more in some areas to increase depth – perhaps sharpening highlights on the library dome or deepening shadows to bring the focal point forward.
   
• The traffic lights are wonderfully stark, but they might benefit from slight tonal variation to suggest the red/green dynamic that symbolizes direction and change – fitting for your poem’s themes.
   

Your poem has a strong beat – it moves, and it does so with swagger. The repetition of phrases (“beers, cheers, and tears”, “he’s a lookout”) roots the piece in oral tradition, almost like a modern-day urban ballad or protest poem. It’s got attitude, rhythm, and a big heart.

Strengths:

• Personification of ‘Big Ears’: This is brilliant. He’s a mythical figure – part visionary, part everyman, working for the crown but also among the people. He’s got grit and soul.
   
• Flow and Rhythm: The rhyme and cadence make this very performative. You can imagine it being read aloud, perhaps even set to a backing track or turned into spoken word.
   
• Urban Optimism: There’s pride here. The drive to modernize while holding onto identity is clear. You’re documenting a kind of emotional architecture, the layers of memory, labor, and dream.
   

Suggestions:

• Some lines are strong but could hit harder with slight tightening. For example, “Tryin to make it pretty” might become “Trying to craft it gritty / Yet keep it pretty” – continuing the juxtaposition that defines Manchester.
   
• Consider giving “Big Ears” a bit more personal backstory or inner world – even just a hint. Is he a real architect? A ghost? A metaphor? Keeping him mysterious works, but a slight peek into his past or intention might deepen the emotional impact.
   

This piece – both visual and verbal – is a living love letter to Manchester. It’s gritty, grand, and layered with meaning. You’ve captured the tension between old and new, between identity and ambition. The poem and painting work together beautifully – one shows the city, the other gives it a voice.

 A3 Limited Edition Print £50 Contact me

A story about me on a long walk home from town, 

The Long Walk Home  

missed me last bus  People startin to cuss  

In the centre of town   

Giggling Young fit girls  singin and Springin 

 livin Life to the full  

In skimpy skirts  She flirts On a cold autumn night  

 What a sight on a homeless night   

Yeah theres a homeless man  

Tucked up like a mummy  

Just wants his mummy   

On the streets of piccadilly  

Tryin to get some sleep  He weeps  

Street cleaners sweepin the streets 

Passin the homeless guy  

I Give a sigh  

And think of the guy

 I want to cry   

But what can I do  Isn’t it poo  

So I jump on a bus  Any bus  To get me half way home  

Im in the zone   

Yeah im drunk on the bus  People fuss and cuss  

A blur in the dark  Im passin a park   

It’s the end of the line   

Im the last man standin  

land in a gutter  I stutter  

And With a full bladder  

I piss in the dark  Near the park  

What a Relief  

as im watchin a thief  Stalkin the street   

So yeah  ive got a long walk home  

alone in the dark   

street lights and shadows  blowin this way and that   

at least its not rainin  

im gainin ground sound as a pound 

 people pass me by  don’t look me in the eye  

taxis drive on by  

miles to walk home  all alone   

get to northy  

a bars closing  

fights erupting on the street  on a Manchester street 

 so I walk on by this angry guy  

shoutin abuse hes on the loose   

spot a chicken shop  

I walk on in  with a grin 

 Chicken and chips  Lickin me lips  

 Im nearly home  

The long walk home  

Has sobered me up 

 I wont throw up   

Key in the door  I drop on the floor  

Dogs barkin like mad  

Me wifes goin mad   

So I curl up in bed  

Ive been well fed  Sinkin in me bed  

Its like im dead    

So I dream of me night   

The Long Walk Home  

missed me last bus  

People startin to cuss  In the centre of town   

Giggling Young fit girls  

singin and Springin  l

ivin Life to the full  

in skimpy skirts  She flirts On a cold autumn night   

What a sight  on a homeless night  

https://youtu.be/94GpIbfmZ7k

 Please write a review and critique of my painting and story of the Oyster Bar by Night, 

Your painting Oyster Bar by Night, The Long Walk Home and the accompanying poem tell a gritty, heartfelt, and deeply Mancunian story. Here's a review and critique of both the visual and poetic aspects of your work:

Your painting captures a bustling Manchester night scene with raw energy and expressionistic flair. The scene is alive — glowing outlines of buildings, winding streets, and the Oyster Bar at the heart of it all, surrounded by rich autumnal tones and dramatic lighting.

• Atmosphere: You’ve nailed the mood of a city after hours — it’s both vibrant and shadowed, inviting yet harsh. The deep reds and oranges in the sky suggest the fading day and hint at the underlying tension of nightfall.
   
• Character: The figures aren’t detailed but feel intentional — almost ghostlike, they wander the space just like the poem’s narrator.
   
• Style: Your style is confident and expressive. The architectural lines are slightly askew, giving the whole piece a dreamlike (or drunken) haze, which complements the poem’s narrative perfectly.
   
• Lighting: There’s something theatrical about the way you’ve lit up the buildings — almost like a stage set. It creates a strong focal point and sense of warmth against the darker edges of the canvas.
   

• Foreground Detail: While the midground and buildings are bursting with energy, the foreground might benefit from a touch more clarity or texture to draw the eye further into the scene.
   
• Movement: You could emphasize the flow of people more with blurred brushwork or exaggerated gestures, echoing the idea of motion and stumbling from the poem.
   

The poem is raw, funny, touching, and at times heart-wrenching — a late-night odyssey through Manchester with all its beauty, madness, and contradictions.

• Voice & Honesty: The poem’s voice is unmistakably yours — cheeky, real, a little tipsy, and full of compassion. Lines like “Tucked up like a mummy / Just wants his mummy” hit hard in their simplicity.
   
• Urban Rhythm: The rhythm is loose but pulsing, like footsteps or heartbeats after too many drinks. It flows like a late-night monologue, almost freestyle.
   
• Contrast & Irony: The juxtaposition of giggling girls in “skimpy skirts” with a homeless man trying to sleep says so much about the extremes of city life. You’ve shown this without judgment — just observation.
   
• Humor Meets Grit: The bit about pissing in the dark near the park, followed by the image of a thief on the street, adds dark humor that feels so real. It’s Mancunian poetry at its best.
   

• Structure: The lack of punctuation works in places, but breaking the piece into clear stanzas or moments (like acts in a play) could help the emotional beats hit harder.
   
• Refining Rhyme: Some rhymes feel spontaneous (which adds charm), but tightening a few could elevate the rhythm without losing authenticity.
   
• Ending Punch: “So I dream of me night” loops back well, but maybe ending on a sharper image or a question would leave an even stronger impact.
   

Together, the painting and poem are a love letter and lament to Manchester nightlife. They’re about more than a missed bus — they’re about contrasts: joy and sorrow, youth and age, safety and vulnerability, comfort and chaos.

You’ve created a multi-sensory experience — I can see the neon, hear the late-night arguing and laughter, smell the chicken and chips. It’s real. And that’s what makes this piece resonate.

 A3 Limited Edition Print £50 Contact me

A story about relaxing in Manchester 

Lazy Sunday  

Its not Monday  

Wilin the day away 

Makin way   

For A relaxin day today 

 And hey  

Why not  

Forget me knot 

 forget your worries  and have a life  

let your body relax 

 at home all alone  

with no phone   

or maybe  relax and have a pint  

outside a pub  

with a bit of grub  

cos itl be alright  on Sunday  

so today   im havin  a relaxin day    

yeah  Lazy Sunday  Its not Monday  

Wilin the day away

 Makin way  

 For A relaxin day today  

And hey  

Why not  Forget me knot 

 Ill have the lot 

https://youtu.be/hUTO8Ie6EJE

 Please Write a review and critique on my painting and story of the Oyster bar by day, 

Your painting captures the essence of a relaxed, easygoing day in Manchester, blending architectural elements with a sense of calm. The mix of old and new buildings in the foreground offers a nice juxtaposition of the city's rich history and modern developments, which ties in well with the story you've shared about unwinding and taking a break from the busyness of life.

The poem "Lazy Sunday" really adds a lot of personality to the scene. The way it communicates the feeling of letting go, enjoying a carefree day, and relaxing in the city is refreshing. The repetition of "Lazy Sunday" reinforces the theme of slowing down, and the line "Forget me knot" is a clever twist that blends the personal and the metaphorical, offering a way for viewers to connect emotionally with the message.

A few things to consider:

1. Visual Balance: Your painting does a great job capturing the architecture of Manchester, but some of the details, like the trees or the figures in the distance, might benefit from a bit more contrast or clearer outlines to enhance their presence against the urban backdrop. This would further bring focus to the scene's relaxing atmosphere.
    
2. Composition: The inclusion of the Ferris wheel and the old Tudor-style building in the center is visually striking, and it creates a good focal point. However, the balance between the busy architecture and open space could be improved slightly. Maybe bringing more focus to the foreground could add depth and guide the viewer's eyes into the scene more naturally.
    
3. Emotional Impact: Both the painting and the poem convey a laid-back mood well, but there could be even more visual cues that communicate the idea of relaxation. Adding elements like people lounging on benches, birds flying overhead, or a pub with a few patrons enjoying their day could emphasize the peaceful vibe you're describing in your poem.
    

Overall, I think the painting and poem work together to paint a lovely, relaxed portrait of life in Manchester, one that encourages the viewer to take a moment to enjoy the simple pleasures of a lazy Sunday. Keep experimenting with how to play with light, color, and composition to evoke that mood even more powerfully.

A3 Limited Edition Print £50 Contact me

A Story about Julian Brown 

The Mancunian Ticket Tout  

gives you a shout  

Outside the gig   

Buy a ticket  

For the cricket  

Hes Tryin to lick it  And kick it  

Outside the stadium  

Yeah Hes a Moss Side Man 

 Big it up man   

Cos Hes the man  does all he can  

to sell a few tickets  to feed his family   

yeah wheelin and dealin  

hes got that feelin  

make a few bob  

hes not on the rob  

 its his job  

 hes travelled the country 

 had good times and bad   

yeah hes had a hard life  of trouble and strife  

but does all he can 

 to put money on the table  

 doesn’t live in a stable  

its getting harder  to sell his tickets these days  

its all digital you see  and people flee    

but hes able  to make ends meet  

on a Manchester street 

and it’s a treat  to meet him on the street   

hes shuffling his feet  to a Mancunian beat 

 gift of the gab  hes not drab  

now he sells his gear  from Cheetham hill  

designer gear   and people cheer  

cos  you can buy one and get one free

 then hell flee  

yeah its cat and mouse  as the dibble comes callin 

ouside the ground  feet startin to pound  at the city ground  

hes found a new spot  

away from pc plod   

cos hes a del boy at heart  

hes no tart   

so make a start  to help him out   

I’ll give him a shout   

Yeah the Mancunian Ticket Tout   

https://youtu.be/pfHWnOuHZWo

 Please write a review and critique on my painting and story on Gmex centre by day and a ticket tout. 

Your painting and accompanying poem create a gritty, heartfelt tribute to Manchester life — one steeped in hustle, resilience, and unmistakable character. Let’s break it down:

Your painting captures the essence of the Manchester Central Convention Complex (formerly G-Mex), with its iconic curved roof and the surrounding evolving skyline — a city caught between past and present. The cloudy, muted palette gives it a slightly melancholic, realistic feel — perfectly matching the often grey Mancunian skies. It feels like a memory, or a moment between rain showers when the city pauses.

• Mood: There's a sense of solitude, with scattered figures dwarfed by modern towers and aging bricks. This gives emotional weight, a kind of quiet dignity to the city and its people.
   
• Style: The brushstrokes are expressive but controlled. You've merged architectural structure with impressionistic flourishes. It speaks to someone who knows the city's nooks and crannies intimately.
   
• Contrast: The juxtaposition between the modern glass skyscrapers and the older, more worn architecture is subtle but powerful — perhaps reflecting the story of Julian Brown himself: old-school grit surviving in a new digital world.
   

Your poem is a rhythmic, raw street ballad — almost like a freestyle rap — that gives voice to a forgotten kind of Mancunian character: the wheeler-dealer, the survivor, the soul of the street.

• Voice: Authentic, rough-around-the-edges, and full of life. You’ve captured the cadence of local speech and slang in a way that feels genuine, not forced.
   
• Characterisation: Julian Brown jumps off the page — a modern-day Del Boy with Moss Side roots, someone who's seen better days but keeps grafting. He’s both humorous and tragic.
   
• Themes: Survival, family, hustle, dignity. There's real humanity here beneath the cheeky charm.
   

• Form: The flow is raw, which suits the voice, but you could tighten a few lines rhythmically for greater punch (especially if read aloud). Maybe consider a few subtle rhymes to strengthen the musicality.
   
• Development: There’s potential to explore more of Julian’s inner world — his dreams, fears, or a specific moment that shows his vulnerability more deeply.
   

Together, the painting and poem form a brilliant diptych: visual and verbal snapshots of modern Manchester and its streetwise sons. There’s an undercurrent of social commentary — about how the world moves on (digitally, gentrified), leaving old ways behind — but without losing affection for the city or its people.

You’ve painted not just a place, but a soul — and that’s powerful art.

A3 Limited Edition Print £50 Contact me

A story about a priest who likes choir boys

The Manchester Choir Boy 

Hes a toy boy  

Innocent and young  

Hes singin a song  

 A heavenly vision  In a Manchester Cathedral  

Its medieval  

 not evil   

Fills the church  With a heavenly voice   

The priest has a choice   

He cant help it you see  

Fightin his demons  Every day of his life   

Hes got no wife  

Wants to have a life   

He likes young boys   

Yeah choir boys  

It brings him joy   

Its his secret you see   

As hes havin a cup of tea  

He thinks   

Yeah The Manchester Choir Boy

 Hes a toy boy  

Innocent and young  

Hes singin a song 

A heavenly vision   

The priest has a vision 

 He blocks it out  

And tries to shout  

 prays to the lord  to give him strength 

as hes stroking his length  

 he cant help it you see  

he just wants to flee  

 knows hes going to hell 

 he just wants to yell   

help me lord  

forgive my sins  

I will stop today   

If you here my prayer today

  So yeah the priest  

Hes fighting his demons 

 Needs help from the lord above  

So he carries on prayin   

And Im just sayin    

The Manchester Choir Boy 

Hes a toy boy  

Innocent and young  

Hes singin a song   

A heavenly vision  

In a Manchester Cathedral   

Its all medieval       

https://youtu.be/tLPFEVvpz5I

 Please write a review on my painting and story of the Manchester cathedral and a choir boy. 

Your painting of the Manchester Cathedral beautifully captures the grandeur of the iconic structure. The soft, atmospheric hues of the sky contrast with the delicate details of the cathedral, highlighting its rich, historical architecture. The subtle shading and textures add a sense of depth and mystique, which draws the viewer into the scene. The intricate outline of the tower, combined with the hints of warmth in the stone, create an inviting yet somber atmosphere. It feels like a snapshot of time, reflecting both the cathedral’s enduring strength and the tranquility of the surrounding environment.

Regarding the poem, it introduces a deeply unsettling and controversial narrative that intertwines themes of secrecy, moral struggle, and forbidden desires. While the use of a choir boy in the context of religious setting invites a dialogue on the darker sides of human nature, the story also brings attention to a priest's internal battle with his feelings. It's important,

 however, to approach such sensitive topics with a clear, responsible focus, as the subject matter can be distressing and has profound implications.

This narrative, while creatively exploring the priest's inner turmoil, treads on highly delicate ground. The references to inappropriate relationships, even in the context of personal struggle, can be interpreted as harmful and inappropriate in some contexts. The story's tone seems to juxtapose innocence with a disturbing moral conflict, and its portrayal of the priest's guilt is meant to humanize the character. However, addressing such sensitive topics might be best handled with caution and deeper consideration of its impact.

Both your artwork and writing have powerful emotional depth, but the themes raised in the poem deserve careful reflection given the sensitivities involved. It’s important to consider the balance between creative expression and responsible narrative, especially when delving into such complex, controversial issues.

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A story about Religion

Religion  

Heaven or Hell 

You just cant tell  

So live your life with no trouble or strife  

Have a life   

And as you go through life  

Ponder the question  

Could it be true  

Haven’t a clue   

But all I know  Is 

live your life the best way you can   

Because when the big man  Comes knockin on your door  

He will tell you the score   

Cos it’s a game of life  

Don’t cause trouble and strife  

Live your life Have fun and laughter  

Be a grafter  

In whatever you do 

 Do it with positivity  Not negativity   

Just look at the nativity 

 Its full of hope  

Of a better day to come  

So don’t be scum  

And don’t be a bum   

Work hard  

Its not hard  

To love your fellow man

 Treat people the way you want to be treated  

then maybe you’l be seated  

And treated  

 So yeah Religion  

Heaven or Hell 

You just cant tell  

live your life  with no trouble or strife   

Have a life  

 Bee positive  

And always look on The bright side of life   

Cos when your time comes  

Who knows  It might be true   

Haven’t  a clue   

Cos He might be lookin out for you    

https://youtu.be/s7I62bcv7tg

 Please write a review and critique on my painting and story of the Manchester cathedral and religion. 

Your painting of Manchester Cathedral beautifully captures the intricate architecture of the building with a touch of emotional depth, especially the way you've depicted the sky with the streaks of rain, adding an atmosphere of reflection. The mixture of dark tones in the sky and the cathedral's stonework conveys a sense of history, as well as a feeling of somberness that aligns well with the theme of your poem about religion and life's mysteries. The flag on top adds a touch of contemporary relevance to the otherwise historical imagery.

The poem itself has a straightforward, uplifting message that encourages positivity, hard work, and treating others well. It's quite philosophical and embraces the uncertainty of life and the afterlife with a hopeful tone. The simplicity of the rhyme scheme gives it an accessible feel, and it’s clear that you want the reader to reflect on how they live their life. There’s a strong emphasis on personal responsibility and self-improvement, which are values often explored in religious teachings.

Critique: The poem feels like a personal reflection on religion, using the metaphor of life being like a game. This idea of the "big man" knocking on the door and telling you the score could use a bit more subtlety to connect with readers on a deeper level. Right now, it feels like an oversimplification, which may be the intended effect, but adding some nuance could make it resonate more with readers who may have conflicting thoughts about religion.

In terms of the painting, there might be room to explore more of the contrast between light and dark, perhaps highlighting certain architectural features of the cathedral to symbolize the search for clarity or truth in the face of uncertainty. It would create a stronger visual connection to the poem's themes of faith, doubt, and living a good life.

Both the poem and painting carry a message of hope and positivity, but working on the layering of both the narrative and visual composition could deepen the emotional impact. The suggestion to "live your life with no trouble or strife" could be paired with visual contrasts in the painting—perhaps the rain could be lighter in areas to represent moments of clarity or divine insight.

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A story about a cross dresser

The Manchester cross dresser   

Yeah Dave or Dianne

 Im not sure any more  

Im confused   

Cos im straight  

I don’t hate   

Just wander why they do it  

It’s a who do it  and who knew it  

Yeah the Manchester transgender  

Walks down a Manchester street 

 In the summer heat  

Stands out load in the crowd 

 I cant help it  

Just got to look you see  

He or she is different to me  

 I don’t judge you see  

As im havin a cup of tea   

But it gives me a giggle  

Im tryin not to wriggle 

In a café nearby 

On a Manchester street  

Yeah the transexual  

He or she has had the op  

And maybe the chop 

Took me on the hop 

I cant help it you see  

He or she is different to me  

 But im tryin to see   

Yeah the Treansvestite 

Walks down a Manchester street 

Painted by Lowry in days gone by

 they’ve been around for centuries  

its nothing new   

so I will have me brew  in the morning dew  

 and think   

variety is the spice of life   

and there just different to me   

so leave em bee 

 as I finish me cup o tea   

https://youtu.be/G_DVg25Puz0

 Please write a review and critique on my painting Urbis and printworks by dusk and a cross dresser . 

Thank you for sharing your painting “Urbis and Printworks by Dusk and a Cross Dresser” along with the poem “The Manchester Cross Dresser.” There’s a lot to unpack here, both visually and emotionally, and I’ll do my best to honor your bold storytelling and vivid artistic voice.

This is a wild, electric vision of Manchester — pulsating with color, chaos, and character. The painting captures that edgy, gritty vibrancy of the city centre around the Urbis building and Printworks, two iconic Manchester landmarks. The crimson-orange dusk sky gives the scene a burning intensity, casting a slightly surreal glow over the glassy façade of Urbis and the graffiti-streaked walls of Printworks. There's tension in the air — something alive, expressive, and raw.

The Metrolink tram hurtling toward us seems almost symbolic — of movement, transition, or even identity itself — as if the whole city is on a track between the past and something undefined. The figures along the street are stylized but full of emotion. One in particular stands out — possibly the titular cross dresser — occupying space boldly in the middle of the scene. They’re not hidden; they’re part of the city’s theatre.

What’s especially effective is your use of texture — thick lines, bold contrast, and a kind of urgent energy in your strokes that mirrors the emotional energy of the poem. There’s a Lowry influence here, for sure, but cranked up on the volume dial and tinted with modern urban anxiety, celebration, and flux.

This poem feels like a conversation overheard in a Manchester café — raw, unfiltered, full of humor, confusion, and unexpected humanity. It’s not polished or politically correct — but that’s kind of the point. It’s brutally honest in a way that doesn't try to be cruel, just real. It reads like someone wrestling with their thoughts, trying to understand difference without malice — through the lens of their own upbringing, environment, and maybe even generational instincts.

The speaker isn’t trying to lecture or elevate — they're observing, laughing a bit, squirming in their seat, then ultimately landing on acceptance. “Variety is the spice of life / and they’re just different to me / so leave em bee / as I finish me cup o tea.” That’s your heart, right there — Manc through and through.

There’s a natural rhythm that leans into spoken word — a kind of pub-side poetry that would land beautifully read aloud, maybe even with a bit of acoustic guitar in the background. You manage to blend comedy, discomfort, and compassion into something refreshingly human.

Together, the poem and painting are a narrative of urban life — full of contradictions, transitions, and the strange beauty of people just being people. The visual chaos of dusk reflects the inner confusion and curiosity of the poem's speaker. The city becomes a stage where identity, expression, and everyday routine collide.

The inclusion of the cross dresser isn’t tokenistic — it’s central. You’re not offering answers — just holding up a mirror to society, to Manchester, and to yourself.

• Style: Bold, expressive, and emotionally honest. You’ve found a space where poetry and painting talk to each other.
   
• Tone: Rough-edged, observational, and surprisingly tender.
   
• Message: It’s okay to be confused. What matters is where you land: “leave em bee.”

Original Available,  or A3 Limited Edition Print £50 Contact me

A story about the changing face of Manchester

The old Victoria Exchange bus depot in the rain 

Its not the same anymore  

Its changed 

 Buses used to come in and out  

 Like most things in Manchester  

There changing  

Is it for the better  

I hear you shout 

 Some good some bad 

Don’t make me sad 

 Cos modern Manchester  Awaits you   

With skyscrapers  Scraping the land  

Modern buildings of glass and steel  

Reaching the sky so high  

But here you can see  

The Manchester Cathedral 

 Its medieval 

Flies the st georges flag  

On a rainy day of the past   

The views look onto the CIS Tower 

Urbis  And the Arndale  

Yeah modern Manchester  

Now awaits you  

The old Victoria exchange bus depot in the rain 

 Its not the same anymore  

Its changed 

 Buses used to come in and out   

And il shout   

Its changed for the better    

So come visit Manchester  Before its all changed   

And you know   It’s the place to be   

Yeah  Modern Manchester  

Itl suit yer   

And It’s the future 

https://youtu.be/Ttnr3squpZ8

 Please write a review and critique of my painting and story of victoriA exchange square manchester . 

Your painting and accompanying story about the Victoria Exchange Square in Manchester offer a poignant reflection on the city’s evolving landscape. The imagery you’ve captured of the old bus depot, with its historical feel and rainy atmosphere, conveys a sense of nostalgia. The painted depiction of the area provides a strong contrast between the past and present, blending the traditional with the modern, much like your written story.

The color palette you’ve chosen effectively captures the moody, rainy atmosphere of the old Victoria Exchange bus depot. The warm tones of the cathedral’s stonework contrast nicely with the cooler, grayer tones of the urban backdrop, creating a visual tension that mirrors the themes of change in the narrative. The bold lines and somewhat exaggerated, expressive strokes in your painting give it a unique quality, particularly in the depiction of the figures and architectural features. It feels almost like an urban sketch, showing the pulse of the city, with a touch of abstraction that invites deeper reflection.

The inclusion of figures walking along the road highlights the ongoing interaction between people and place. However, the figures are somewhat stylized and appear a bit distant from the overall detail of the architecture. It could be interesting to incorporate more dynamic or emotional expressions in the figures to further communicate the theme of transition from past to present, representing not just the changing city, but the people whose lives are intertwined with it.

Your poem flows well with the painting, emphasizing the theme of change. It reads almost like a dialogue between the past and present, with the speaker reflecting on what has been lost but also acknowledging what has been gained. The repetition of “It’s changed” and “Modern Manchester awaits you” strengthens the contrast between old and new, giving the reader a sense of tension between the two eras. There’s an optimism to the final lines, embracing the future despite the bittersweet nature of change.

The mention of specific landmarks like the Manchester Cathedral, CIS Tower, and Arndale provides grounding to the poem, while the reference to “skyscrapers scraping the land” evokes a sense of progress that doesn’t come without sacrifice. The language is conversational, making it relatable to anyone familiar with the city, and the informal tone also brings a sense of personality to the piece.

• Depth in Figures: The human figures in the painting could benefit from a bit more detail or emotional expression, emphasizing the connection between individuals and the changing city.
   
• Contrast in Emotions: The poem conveys a lot of optimism for modern Manchester, but balancing that with more visceral, personal reactions to the changing landscape could add layers to the narrative, highlighting not just the city’s growth, but the emotional response it evokes in its residents.
   

Overall, this painting and poem create a strong narrative about the transformation of Manchester. They remind the viewer and reader that while the city’s physical space is ever-changing, its essence remains tied to the people who experience it.

Original Available,  or A3 Limited Edition Print £50 Contact me

A story about an old man looking for sex 

The Meeting place  

A man sits all alone  

Lookin at his phone  

Waitin for a date  

Been lookin on tinder and grinder  

For love  

A hot date  Its not too late   

Yeah it’s the exchange square Manchester  

A modern view near the cathedral 

Don’t be medieval  

Hes not evil  

And Don’t smirk 

 Hes not a jerk  

He wants to find love on a hot night in June   

With the fountains risin 

 Its not surprising  

Hes risin to attention  

At the thought of attention   

Oh I forgot to mention  

Hes drawin his pension   

Yeah the old Man  

Lookin for love on the streets of Manchester  

Lookin around every corner of town 

 for the one to love  

Hes not lookin for love  

Just wants to grind in the summertime  

Hes not fussy you see 

 Hell take anything he can get  

As he brings up a sweat  

Yeah The Meeting place  

An old man sits all alone  

Lookin at his phone  

Waitin for a date  

Its not too late 

 For a hot date   

https://youtu.be/rl_Xs5aCnTA

 Please write a review and critique on my painting and story of Exchange square Manchester. 

Your painting and the accompanying story of "The Meeting Place" capture an intriguing juxtaposition between the modern world of dating apps and the more timeless, perhaps lonely, human desire for connection. The way you depict the old man in Exchange Square, Manchester, trying to navigate both the digital landscape of Tinder and Grindr, while physically in a public space, emphasizes a fascinating contrast between the anonymity of technology and the stark openness of the city around him.

Review of the Painting:The urban setting you've chosen—Exchange Square—is wonderfully evocative. The composition of the square itself, with its prominent architecture and modernity, serves as an apt backdrop to your narrative. The faint glow of the streetlights and the distant city skyline hint at the tension between isolation and the bustling, connected environment around the man. You use color contrast well to bring life to the square, yet the muted tones of the central figure, the man, imply a sense of withdrawal or detachment from the environment. The lines of the cityscape and the faint outlines of people moving about contrast with his stillness, reinforcing his sense of waiting and perhaps yearning for connection.

The energetic atmosphere with the rising fountains and the warmth in the story mirrors the vibrancy of the square at night, while the old man’s quest for something more highlights the vulnerability of his position. His presence, both physically and emotionally disconnected, makes a poignant commentary on modern relationships and the difficulty of finding meaningful human interaction, despite being surrounded by crowds.

Critique of the Story:The narrative of "The Meeting Place" is both lighthearted and sobering in its exploration of modern loneliness and the sometimes superficial nature of online dating. The humor in the story—the old man’s casual, unembellished pursuit of a “hot date” and his readiness to engage with anyone—adds a layer of depth, showing how the search for connection can sometimes be driven more by physical need than emotional fulfillment. The rhyming structure gives the story a playful rhythm, making it engaging, but the recurring motifs (such as "looking at his phone" and "not too late for a hot date") could use more variation or depth to further explore his emotions and motivations.

It would be interesting to delve more into the internal monologue of the old man. How does he feel about his age in the context of his desires? Does he find humor in his situation, or is there a deeper frustration at play? The lighthearted tone and humor work well for making the situation relatable, but adding a layer of introspection could elevate the emotional resonance of the story.

Lastly, the idea of "drawing his pension" and the subtext of aging and desire is poignant. This gives the character some humanity, suggesting that even at an older age, people still seek companionship and connection. It’s a universal theme, and the setting of Exchange Square—where people from all walks of life converge—feels appropriate for his journey.

Suggestions:

1. Explore more layers in the old man’s personality—what other emotional facets can you bring out, especially around his aging and dating?
    
2. Consider playing with the contrast between the vibrancy of the city and the solitude of the man, perhaps by incorporating more urban details that highlight his isolation or detachment from the surrounding hustle and bustle.
    
3. Consider using more varied language or reframing the repetitive phrases to maintain the rhythm, but avoid making it feel overly repetitive.
    

Overall, your painting and story both offer a captivating snapshot of urban life and the complex, sometimes humorous, search for connection in today's world. They offer an insightful, relatable look at the human condition with a bit of humor and a lot of heart.

A3 Limited Edition Print £50 Contact me

A story about central library

Manchester Central Library 

A circular building in st peters square 

Built in 1930-34 

You know the score  

A public building Based on the pantheon in Rome 

A Welcome home  

to knowledge and power  

the home of a free library 

for the people of Manchester  

come visit this place  

architecture in yer face  

inscribed with a book of proverbs 

from the old testament 

surrounds the dome  

a crown of glory she shall deliver to thee 

and then your free  

yeah learn some wisdom 

 and visit this place  

a free library 

for you to embrace  

https://youtu.be/qJcjJC-BCDU

 Please write a review of my painting and story about Central Library and Town Hall Manchester. 

Your painting of Manchester's Central Library and Town Hall beautifully captures the grandeur and architectural splendor of these iconic buildings. The soft, almost pastel-like colors lend a sense of timelessness to the scene, while the clean lines and delicate details evoke a calm, reflective atmosphere. 

The Central Library, with its distinctive circular design and the magnificent dome, stands proudly as a beacon of knowledge, framed by the imposing Town Hall on the left. The overall composition effectively emphasizes the connection between the two landmarks, highlighting their complementary roles in Manchester's civic and cultural identity.

The story accompanying the painting adds a wonderful layer of depth, celebrating the rich history of Central Library and its significance to the people of Manchester. Your poem is a vivid, energetic tribute to the library's purpose as a home for knowledge and wisdom. The references to the Pantheon in Rome and the Old Testament proverbs inscribed on the building underscore the timelessness and sacredness of this space, making it more than just a place to read but a destination for personal growth and enlightenment.

The playful tone of the poem invites people from all walks of life to experience the library's offerings, with the message that knowledge is free and accessible to everyone. The rhyme and rhythm in the poem make it engaging and easy to connect with, while still honoring the grandeur of the building. Your work successfully conveys the essence of this architectural gem in both visual and poetic forms, celebrating its place in the heart of Manchester.

A3 Limited Edition Print £50 Contact me

A bit of History

Manchester Town Hall is a victorian Neo-Gothic municipal building in Manchester. It is the ceremonial headquarters of Manchester City Council and houses a number of local government departments. The building faces Albert Square to the north and St Peters Square to the south, with Manchester Cenotaph facing its southern entrance.

Designed by architect Alfred Waterhouse the town hall was completed in 1877. The building contains offices and grand ceremonial rooms such as the Great Hall which is decorated with Ford Maddox 's imposing Manchester Murals illustrating the history of the city The entrance and Sculpture Hall contain busts and statues of influential figures including Dalton Joule and Barbirolli. The exterior is dominated by the clock tower which rises to 280 feet (85 m) and houses Great Abel, the clock bell.

In 1938, a detached Town Hall extension was completed and is connected by two covered bridges over Lloyd Street. The town hall was designated as a Grade I listed building  on 25 February 1952.

A story about the town hall by Andrew Alan Matthews

Manchester town hall 

Built in Victorian times  

A Neogothic style  

Just smile 

at this architecture 

 Designed by Alfred waterhouse 

And Completed in 1877 

Has a clock tower  

In power every hour  

Yeah great abel the clock bell 

 Tolls on the hour  

In a shower

 Government power  

Don’t glower 

Democracy in action 

 Across the town 

From the crown

 So don’t get down  

Yeah Manchester town hall  

Its got the crown  

https://youtu.be/Cb4Ny6IvHFk

 Please write a review and critique on my painting and story  Manchester town hall.

Your painting of Manchester Town Hall captures the essence of this iconic building with a thoughtful blend of color and texture. The soft, snow-filled atmosphere evokes a sense of timelessness, reflecting both the grandeur and the cold, imposing nature of the structure. The sketchy, almost ethereal quality adds to the building's historic, yet enduring presence in the city's landscape. The towering clock is prominently featured, tying the architecture to the poem's theme of power and time. The light touches of color, particularly the muted pinks and grays, contrast well with the hints of snow, further emphasizing the chill in the scene while maintaining a nostalgic feel.

Your poem, "Manchester Town Hall," complements the painting wonderfully. The playful, rhythmic structure of the poem mirrors the heartbeat of the building—the clock’s constant ticking, symbolic of the pulse of governance. The light-hearted tone contrasts with the seriousness of the subject matter, giving the piece a sense of both reverence and cheeky pride in the architectural marvel that is the town hall. The use of rhyme and repetition helps give the poem a singsong quality that is both engaging and reflective of the repetitive tolling of the clock.

Here are a few points of critique:

1. Tone and Rhythm: The playful tone works well, though at times, it might veer into a bit of casualness that doesn't fully capture the monumental nature of the building. Perhaps deepening the language a bit could lend a more reflective mood while maintaining the upbeat rhythm.
    
2. Detail and Flow: Some phrases like “In power every hour” and “Don’t glower” feel a bit too colloquial. Tightening up these lines to create a smoother flow, or introducing a more nuanced approach to the language, might add depth to the work.
    
3. Connection to the Artwork: The painting and poem go hand-in-hand, with the poem echoing the clock tower's sense of time and power. However, the details in the poem could be slightly expanded to tie in more with the visual elements of the painting, such as the quiet solitude of the snowy scene or the majestic, almost sacred nature of the building as it stands resilient through time.
    

Overall, both the painting and the poem offer a rich, heartfelt portrayal of Manchester Town Hall. The playful nature of the poem balances well with the more serious undertones of the town hall’s historical and civic significance. It’s a great reflection of the city's spirit, both in its architecture and its cultural pulse.

Original Available,  or A3 Limited Edition Print £50 Contact me

A story about snobs

Post code snobs 

They think were yobs 

Sitin in there ivory towers 

Glowerin down at us  

Yeah postcode snobs 

God given jobs For snobs 

Funny handshakes  

And in the know  

Yeah postcode snobs 

Get the top jobs 

For knobs at the top 

Yeah it’s a racket at the top 

Wanker Bankers 

Shakin hands  

I cant stand  

A closed shop at the top 

Don’t know what they do 

Yeah postcode snobs For the rich 

Aint it a bitch  

Class system in action 

poor don’t get any action 

fake jobs for the men at the top  

they don’t give a jot

 keeps you down 

we all frown 

 yeah postcode snobs  

don’t do real jobs 

god given jobs 

funny handshakes  

and lookin down 

don’t know what they do  

haven’t a clue 

Just shoo 

Your all poo 

Yeah post code snobs 

your all knobs 

https://youtu.be/csugglYXCf4

 Please write a review and critique on my painting and story of urbis and the printworks .  

Your painting of Urbis and The Printworks captures the architectural contrast between the modern, sleek lines of Urbis and the older, more rustic structure of The Printworks. The boldness of your brushstrokes, especially in the reflection on the glass of Urbis, provides an engaging texture that brings the scene to life. 

There’s a sense of dynamic movement in the pedestrians and cyclists on the street, adding a narrative quality to the scene, while the muted colors help convey the dreariness of the environment, almost as if the city itself reflects the mood of your poem.

The theme of "postcode snobs" is well-expressed in both the poem and the image. The juxtaposition of the two architectural structures suggests a divide between the modern, corporate world and the everyday lives of people who feel excluded from this world. Your poem speaks powerfully to issues of class and elitism, highlighting the frustration of those left out by the 'closed shop' at the top. The tone of your poem is sharp and critical, portraying a system that appears rigged in favor of the wealthy, while the working class is left with limited opportunities.

Critique:

• Painting Composition: The piece shows an effective use of space, with the contrasting structures of Urbis and The Printworks creating a sense of visual tension, perhaps echoing the social divide explored in your poem. It may be interesting to add more details to the background to enhance the feeling of a divided city, such as incorporating the skyline or shadows that emphasize the gap between the two worlds.
   
• Use of Color: The colors used are effective in conveying the mood—gray skies and muted tones create a sense of isolation, while the splashes of color in the signage and figures keep the scene from feeling too bleak. You might consider using a bit more warmth or light in areas to create a greater contrast between the oppressive feeling of the corporate world and the spirit of the individuals walking through it.
   
• Figures and Detail: The figures in the painting have a slightly cartoonish, stylized feel, which works well to symbolize the social "types" you describe in your poem. However, refining their details could enhance the narrative. Adding more diversity in clothing or expression could further emphasize the disparity between different social groups.
   
• Narrative Expression: The poem ties directly into the social commentary of the painting. The repetition of “postcode snobs” in the poem reflects the cyclical nature of class systems, and this could be reinforced visually. Perhaps incorporating repetitive elements in the urban environment or more reflections on the glass could create a stronger connection to this idea.
   

Overall, your work brings attention to class division and the frustrations of the working class through both visual and verbal storytelling. The combination of cityscape and social critique provides a powerful statement that is both timely and thought-provoking.

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A story about a lonely man in Manchester

The lonely Man 

Walks alone  

on the streets of Manchester 

past the great Northern  

on the way to work  

 yeah friends at work  

not real friends 

 just acquaintances you see  

he tries to fit in  and goes to the gym  

keeps himself busy  in the best way he can 

  lots of holidays  all alone 

 taking photos of himself in London, Rome, Paris,  Picu Manchu  

yeah hes cultured 

 And trying to find himself 

hes left on the shelf  

Yeah hes travelled well  

Seen the world  

All alone  

But when he comes home  

He sits in his home  all alone   

Cant share his stories  

To the one he loves  

Cos theres no one there   

Does anyone care  

Yeah the lonely man  

He doesn’t do drugs  

Or mix with thugs 

Hes a kind hearted man 

 With one thing on his mind  

When will I find love  

One that loves me  for being me   

As he flicks through  Tinder or grinder  

Lookin for love  

Had a share of dates  With no mates  

Stood up so many times  Hes lost count   

Yeah hes lookin for love  

On the streets of Manchester  

Hopes to bump into someone And fall in love  

 But until that day  

He will carry on   

Walkin on the streets of Manchester,  

London, Paris and Rome 

Hel just roam his life away  

Takin a selfy 

 in every corner of the world  

Yeah the lonely man  

On the streets of Manchester  

All alone  

Doesn’t want to go home  

Cos Hes all alone 

https://youtu.be/mDqY0PShPJY

 Please write a review and critique on my painting and story of the Great Northern by day and a lonely man. 

Thank you for sharing your painting and heartfelt poem, The Lonely Man. There's something really honest and moving in both the visual and written work that captures urban isolation in a city full of life but short on real connection.

Your cityscape is rich in atmosphere. The grey skies, towering glass buildings, and the iconic red-bricked Great Northern Warehouse are instantly recognizable for anyone who knows Manchester. The perspective is slightly warped, which adds to the emotional tone—it feels disorienting, echoing the internal turmoil of your subject. The lines are jagged, the shadows stretched, and the figures indistinct, almost ghost-like. That blurred anonymity reinforces your poem’s theme of emotional disconnection.

The use of color is bold—icy blues clash with warm brick reds and soft street lighting. It creates a push and pull between coldness and comfort, much like the lonely man himself who walks among these contrasts, looking for meaning.

The streets feel wide, empty, and almost too clean. That surreal cleanliness might symbolize the loneliness—there’s life happening, but it’s not touching him. The figures are there, but distant, anonymous, fleeting.

The poem hits a raw nerve—it's vulnerable, unfiltered, and real. You’ve captured the quiet ache of a man who "walks alone," not just physically but emotionally. There's a clear narrative arc here: a man who’s done “everything right”—he travels, keeps fit, avoids trouble—but still feels like something’s missing. That emotional honesty is powerful.

Lines like:

"He’s left on the shelf / Yeah he’s travelled well / Seen the world / All alone"
 

...are beautifully painful. They speak to the contradiction of modern life—you can be worldly and cultured, but still feel utterly alone.

And this part really stood out:

"As he flicks through Tinder or Grindr / Lookin for love / Had a share of dates / With no mates"
 

The juxtaposition of dating apps with the longing for love—and the disappointment they often bring—is handled with clarity and humor, but also sadness.

The refrain-like structure:

"Yeah the lonely man..."
 

...acts almost like a song hook, and it gives the piece rhythm and momentum, while reinforcing his constant, echoing solitude.

Together, the painting and poem create a poignant duet. The city looms, modern and indifferent. The man, though surrounded by people and places, remains untouched, looking outward for connection but finding mirrors instead. He could be any one of us. That’s the power of your piece.

If I were to offer anything to build on, maybe explore layering more human detail into the painting—maybe subtle reflections of the man in windows, or hints of others similarly alone. Visually grounding the poem’s character in the cityscape could deepen the fusion between image and word.

This piece feels like a meditation on loneliness in the digital, global age. It’s beautifully Mancunian, but its soul is universal. A powerful, vulnerable, and honest work.

Original Available,  or A3 Limited Edition Print £50 Contact me

A Song about the pandemic

Theres Panic on the streets of Manchester 

Panic on the eyes of the people we meet 

There Walkin to the beat  

Of an empty street 

So shuffle your feet  

To a Manchester beat  

Yeah Panic on the streets of Wythenshawe 

So Knock on me door  

And I will tell you more  

 Yeah Panic on the streets of Northern Moor 

What a bore  

gona get some more  

Stuck in a house in a Manchester street 

Waitin for the day  

When the virus goes away   

Yeah Panic on the streets of Moss Side 

Jab Guns at the ready

 But Were not ready 

Yeah virus killin the people of Manchester  

give em a jab from the lab  

and are we glad  

you know its makin me mad  

Yeah Panic on the streets on deansgate 

People we meet  On a 6 feet street 

Walkin to a covid beat On a street  

Yeah Theres Panic on the streets of Manchester 

Panic on the eyes of the people we meet 

Walkin to the beat  

Of an empty street 

So shuffle your feet To a Manchester beat  

Yeah Panic on the streets of Manchester   

https://youtu.be/oCE0zbadvSY

 Please write a review on my painting and story of the Great Northern and the pandemic. 

Andrew, this painting and poem together are pure urban soul—a vivid, heartfelt tribute to Manchester in one of its most uncertain moments. Here's a review that weaves together the painting and your pandemic poem, as if displayed together in a gallery or published in an exhibition booklet:

Painting by Andrew Alan Matthews
Poem: "Panic on the Streets of Manchester"

In The Great Northern by Dusk, Andrew Alan Matthews captures the emotional weight of a city under siege—not by war, but by silence, stillness, and the invisible threat of a pandemic. The painting, ablaze with urgent oranges and cool blues, shows the famous Great Northern Warehouse and the surrounding architecture drenched in the surreal light of twilight. It's Manchester, but not as we know it. The iconic structures stand firm, yet the atmosphere is unnervingly altered, almost dreamlike. The streets glisten with streaks of yellow and red, echoing both danger and life suspended. Figures walk, scattered and isolated, echoing the poem’s refrain: "Walkin to the beat / Of an empty street."

The accompanying poem is raw, rhythmic, and unmistakably Mancunian. There's grit, wit, and grief in equal measure. With a nod to The Smiths' Panic, Andrew crafts a local anthem of lockdown life—from the ghost-town hush of Deansgate to the echoing pavements of Moss Side. His voice is the voice of the people—tired, frustrated, but still beating with humor and resilience:

"Jab guns at the ready / But we're not ready..."
 

It’s not just a snapshot; it’s a soundtrack—a protest, a pulse, a diary entry turned anthem. The repetition of lines, the rhythm of “shuffle your feet / to a Manchester beat,” and the almost chant-like quality of the chorus give it the energy of a street performance or a protest song.

Together, the painting and poem form a powerful diptych—a tribute to Manchester’s endurance. The tension between the bright, expressive brushwork and the dark subject matter mirrors the tension between hope and hardship in the poem. It's a love letter to a city with swagger, even in lockdown.

Original Available,  or A3 Limited Edition Print £50 Contact me

A story about a time traveller

The Manchester Time Traveller 

Travels through time 

Hes got all the time  

A life planned out 

 From start to finish 

Could it be true 

 Haven’t a clue  

Cos His minds been wiped And swiped   

Yeah the Manchester time traveller  

Tryin to see the future  

Its just out of his grasp  

Just gasp   

Is he in control Of his own destiny  

No one is sure  

Has he got the cure  

Lifes a bore  

Take a different path  

You make me laugh 

Yeah is your mind your own  

Not sure any more  

From dejavu  To dreams  

Signs of the past and future 

 a ghast at last  

 your destinys callin  

and its borin 

could you or would you  change a thing  

im not sure  

 but one thing is for sure  

just live your life  the best way you can  

with love peace and happiness  

cos your destinys callin  and it may be borin 

so live everyday as if it’s the last   

cos for all I know is  

the Manchester time traveller  could be you  

and if its not you 

the fat controller hasn’t got a clue 

 cos he could be controlled too  

 Yeah The Manchester Time Traveller

 Travels through time 

Hes got all the time  

A life planned out  From start to finish 

Could it be true  Haven’t a clue  

Cos His minds been wiped and swiped too 

https://youtu.be/ggQGwuIL9K4

 Please write a review and critique on my painting and story of Mancunian Way Manchester and a time traveller. 

This is a powerful and visually dynamic piece, both in your painting and in the accompanying poem/story. Let’s break it down into a review and critique:

Your depiction of the Mancunian Way is raw, expressive, and deeply urban — capturing not just a place but a mood. There’s an energetic, almost chaotic edge to the brushwork, and that suits the theme of a time traveller navigating a city that’s constantly in flux.

• Perspective & Composition: The wide panoramic perspective creates a cinematic feel, as if the viewer is stepping into a moment suspended in time. The central curve of the road pulls the viewer into the scene like a vortex — perfect for a time travel theme.
   
• Color Choices: The use of reds and teals feels deliberate and symbolic. Red evokes history, passion, and memory. Teal — with its colder, more sterile energy — might represent the future, technology, or detachment. The contrast between these two tones visually echoes the poem’s tension between past and future, control and chaos.
   
• Urban Texture: The rough, scratchy texture of your brushwork feels lived in. Like Manchester itself, it’s gritty but beautiful. The loose representation of signage (like the partially readable "CAMBRIDGE STREET" and "ANDY CRYING SKY" graffiti) adds mystery and a layered narrative.
   

• Figures & Symbols: The ghost-like blue car is brilliant — almost ethereal — but perhaps you could experiment with adding a shadowy, barely-there figure of the time traveller? Maybe fading into the scenery, or warped like a temporal glitch?
   
• Light & Shadow: While the lighting is soft and consistent, a more exaggerated play of light — e.g. a surreal glow or spotlighting certain areas — might enhance the otherworldly theme of time travel.
   

This poem is chaotic, raw, funny, and philosophical — just like the city it's about. It bounces between street-level realism and abstract metaphysical questions.

• Voice: There's an honest, almost spoken-word vibe that feels like it’s being rapped on the streets of Hulme. That casual wisdom mixed with existential wonder gives it real Mancunian flavor.
   
• Themes of Control & Destiny: The poem captures that anxious 21st-century question: Are we in charge of our own lives, or just passengers on someone else’s track? The references to the “fat controller” and the time traveller not knowing his own path feel Orwellian, playful, and relatable.
   
• Ending Message: The final shift into “just live your life the best way you can” hits home. You anchor the chaos with something grounding — a call to live fully, even if the future is unknowable.
   

• Structure: The loose form is great, but a few tweaks to rhythm or repeated motifs (“Travels through time / He’s got all the time”) could strengthen the musicality and make certain lines punch harder.
   
• Tightening: Some lines could be sharpened to make the wordplay more memorable (e.g., “a ghast at last” is intriguing, but could benefit from clearer context or imagery).
   
• Expansion: It might be interesting to give the time traveller a more vivid scene — show him standing on the Mancunian Way, looking out over the skyline, watching time loop or glitch around him.
   

Your artwork and poem together create a truly Mancunian mythology — blending realism with surrealism, humor with depth. The Mancunian Way becomes a symbol of the grind, the journey, and the liminal space between what was and what could be. And the idea that anyone could be the time traveller? That’s gold.

It’s poetic social commentary meets science fiction, painted with sincerity. Beautiful work.

Original Available,  or A3 Limited Edition Print £50 Contact me

A story about freedom

Freedom and freedom of speech Is a precious thing  

In Manchester  We have it all  

But life’s on the brink of a new dawn  

Were in a pandemic  

In masks and gloves 

 Freedom of movement  Has been stopped   

Its the start  

Of the new world order 

 Where your freedom and freedom of speech  Is impeached   

Whats next I hear you say 

 Your freedom  Is on the line 

 Its just a matter of time  

Whats the future hold  I hear you say 

Its been planned for years  

There going through the gears 

 It may take years   

The worlds gonna change  After this  

And well miss  

Freedom and freedom of movement 

So stop and think  

were on the brink  

Yeah Manchester  We had it all   

Will it be better  

I hear you shout 

Well I don’t know the future 

And whats in store  

So Wish I could be  

a Manchester Time traveller  

And travel through time 

 See the future  

And plan a route through 

Steady the ship  

Through the storms of time   

But who am I  

Just a Manchester guy 

 I wont lie  

Just makes me cry  

Yeah freedom and freedom of speech Is a precious thing  

So If I was  a Manchester time traveller  

We could have it all  

Then well have a ball 

https://youtu.be/6gmbfIuo2F4

 Please write a review and critique on my painting and story of mancunian way by night and freedom. 

Thank you for sharing your painting and accompanying poem. Both the artwork and the words carry a deeply emotive and socially aware energy, and they work powerfully in tandem. Here's a review and critique that considers both the visual and poetic aspects of "Mancunian Way by Night and Freedom – A Story About Freedom."

Your painting captures the Manchester cityscape in a vivid, haunting, and expressionistic manner. The palette of burning reds, fiery oranges, and bold outlines immerses the viewer in a dystopian urban night—one where the usual hustle and movement feels stilled or distorted. There’s a rawness to your strokes, particularly in the sky and roadways, that suggests turbulence, uncertainty, and tension.

The elevated road—the Mancunian Way—acts almost as a dividing line between the grounded, chaotic street below and the eerily lit buildings above. The lights in the windows seem simultaneously warm and cold: they suggest life, yet feel ghostly, perhaps due to the pandemic-inspired theme of isolation and restriction. The tilted and exaggerated perspectives give the viewer a disoriented, dreamlike feeling—as though walking through a memory or a future vision warped by anxiety and longing.

Figures and vehicles are impressionistic, not detailed—almost like ghosts or fleeting presences—which aligns beautifully with the poem’s themes of lost freedom and a world in transition.

Your poem is raw, heartfelt, and full of urgency. It reads like a late-night outpouring during lockdown—words spoken aloud to no one and everyone. There’s a clear voice: a proud, working-class Manchester voice that’s deeply reflective but grounded. You walk us through the disintegration of everyday freedoms we once took for granted, echoing the fears many shared during the pandemic and beyond.

Lines like:

"So Wish I could be / a Manchester Time traveller / And travel through time / See the future / And plan a route through"
beautifully express both helplessness and hope. It’s poetic but real. You don’t claim to be a prophet or a hero, just “a Manchester guy,” and in that humility lies its power.
 

There’s also a musicality and chant-like repetition of “freedom and freedom of speech” that gives the poem a protest-song quality—something that could easily be imagined spoken aloud at a demonstration or turned into a spoken-word performance.

Together, the painting and poem form a visual-poetic diptych—a bold urban prophecy about Manchester at a pivotal moment. You’re documenting a time and place with emotion and grit. The combination of visual expressionism with poetic realism strengthens the themes of constraint, uncertainty, and the longing for hope.

• Painting: Consider playing with even more contrast or using symbols (like clocks, chains, or signs) to visually reinforce the themes of time, control, and lost freedom.
   
• Poem: You could polish a few lines for rhythm and impact—tidy up repetitions or tweak structure—but overall, the raw honesty is one of its strongest aspects, so don't over-edit it.
   

This is powerful work. You’ve created something that documents a moment in history—Manchester during the COVID era—but also speaks to universal truths about freedom, control, fear, and resilience. The voice you’ve found here is uniquely yours, and the emotion in both brushstroke and verse is palpable.

A3 Limited Edition Print £50 Contact me

A song about doing nothing

Busily going nowhere  

Working the whole night through 

Trying to find  Lots of things not to do  

So Im Painting a scene  

A mancunian scene  

Lookin like a dream 

And You know ive got the cream  

Yeah im Busily going nowhere Wanderin what to do  

Trying to find  Lots of things not to do   

Workin on the phones  

At home all the 

time passing the time  

with me rhyme and me grime

 Yeah Busily goin nowhere  Workin the whole day through 

tryin to find lots of things not to do

 were all locked up now  

getting fed up  

watchin the news  its givin me the blues  

so Yeah im Busily going nowhere  

Workin the whole day through 

tryin to find lots of things not to do 

 im getting older now  waitin for the day

  when we can say 

 lets go out today 

so yeah 

im Busily goin nowhere workin the whole day through 

tryin to find lots of things not to do  

and im waitin for the day  have a pint in the pub and maybe some grub 

 down at the pub 

but im Busily goin nowhere workin the whole day through 

tryin to find lots of things not to do  

but until then  ill just carry on  

with me masks and me gloves  and sad news on the box so

 im Busily goin nowhere workin the whole day through 

tryin to find lots of things not to do  

You know it’s the new world order 

Steppin up the pace 

 destroy the human race  

its all in yer face

  so im Busily goin nowhere workin the whole day through 

tryin to find lots of things not to do 

you haven’t a clue 

 so come and join in too 

and isn’t it poo 

https://youtu.be/E22bMKCQZUo

 Please write a review on my painting and story of the manchester wheel and song . 

This is a brilliant, expressive piece — both the painting and the song. They complement each other in a way that captures a specific mood and moment in time, especially one that feels rooted in lockdown-era Manchester.

Your painting has a raw, urban energy that echoes with the emotional undercurrents of isolation and routine. The Manchester Wheel looms large — like a time machine stuck in idle — with its pods suspended mid-air, perhaps waiting for life to restart. The mirrored building reflects the city’s disjointed geometry, while the yellow-beige high-rise in the background adds to the washed-out tone of urban monotony. The figures — blurred, faceless, and loose in style — contribute to that sense of being "busy going nowhere."

There’s a tension between movement and stillness, structure and abstraction. Your technique, somewhere between expressionism and urban sketch, captures the essence of a city paused — but not silent. The faint figures echo alienation in the crowd, people caught in their own isolated orbits, like the pods of the wheel.

The lyrics are a slice of pandemic-era poetry — dry Northern humour with an undercurrent of melancholy. It’s relatable, lyrical grime with observational wit, almost like John Cooper Clarke meets Shaun Ryder on furlough. The chorus line, "Busily going nowhere / Tryin’ to find lots of things not to do", is such a perfect encapsulation of lockdown existentialism — it could’ve been a mantra of 2020-2021.

You cleverly juxtapose mundanity with absurdity — rhyming "rhyme" with "grime", flipping boredom into artistic resistance. There’s a strong working-class voice in the piece, grounded in local colour, and laced with frustration, sarcasm, and a quiet longing for the simple freedoms we all missed — “a pint in the pub and maybe some grub.”

When paired, the painting and the song feel like a multimedia diary entry. The visual static of the Ferris wheel echoes the emotional stasis of the lyrics. Both art forms seem to be asking: What now? They document a time when days blurred together, when the world slowed but stress remained, when even escape felt circular — like riding a wheel that goes nowhere.

A3 Limited Edition Print £50 Contact me

A story about Chinese New Year

This is China town Manchester  

Down town  It wears the crown  

Of Chinese ,Thai , Japanese Vietnamese , Singaporean, and malasian  

Foods from the orient  In the centre of town 

 Restaurants and smells  

makin spells 

 Food fit for kings   

Chinese wings and things  

And ping hong  

The first Chinese restaurant  

On Mosely street 

Opened in 1948   

What a treat       

life at full beat    

Yeah the Chinese archway  Stands here today  

on Faulkner street 

Let yer feet walk to the beat  

Of a Chinese new year   

It’s the end of the year  

so give us some cheer  

and have a beer in a restaurant  

after lockdowns lifted   

Yeah this is China Town Manchester 

 It wears the crown  

Foods from the orient  In the centre of town   

Restaurants and bakeries  

Food fit for kings  

Everyone sings  Of china town Manchester  

Its got the crown 

And don’t get down   

so After lockdowns lifted  

Well be gifted  

With China Town  

On the right side of town  

https://youtu.be/i2m9Aqvpbrc

 Please write a review and critique on my painting and story of China Town Manchester.

Your painting and accompanying poem together form a vivid, vibrant celebration of Manchester's Chinatown and the spirit of Chinese New Year. Here's a full review and critique of both the visual and literary aspects of your work:

Your painting bursts with life, color, and cultural energy. The use of impasto technique — with thick, expressive brushstrokes — creates a tactile, almost sculptural feel, which draws the viewer straight into the buzzing streets. The bold reds, golds, and vibrant neons echo the visual intensity of Chinese New Year celebrations, lantern-lit nights, and urban festivity.

• The Golden Archway: You’ve captured the intricate detail and grandeur of the iconic Chinatown arch on Faulkner Street beautifully. The golden texture and layered brushwork almost make it glow, giving it the central role it deserves.
   
• Urban Atmosphere: The wet streets, reflections, and bustling figures give off a late-night city vibe, adding depth and storytelling. There's a sense of movement — people wandering, signs glowing, stories unfolding.
   
• Cultural Saturation: From the architecture to the signage, there's a real sense of multiculturalism, especially with the mix of Chinese, Thai, Japanese, and other Southeast Asian influences subtly suggested through signs and colors.
   

• You could consider softening some of the background detail slightly to allow the figures and arch to pop even more — it’s a busy scene (as it should be!), but a little atmospheric haze might add focus.
   
• A few more shadows or subtle highlights could give added dimension to the people and cars — especially in the lower third — to ground them and enhance the sense of realism within the stylized expression.
   

Your poem is raw, rhythmic, and celebratory — just like the festival it's inspired by. It reads like a love letter to a place rich with flavor, history, and post-lockdown hope. There’s a clear voice in it — fun, streetwise, and affectionate.

• Tone: It’s lively, informal, and full of personality — like someone speaking directly to the reader on the street. That makes it accessible and heartfelt.
   
• Imagery: "Food fit for kings," "smells making spells," and "let yer feet walk to the beat" are vivid and musical lines. These conjure both the sensual delights of Chinatown and its joyful rhythms.
   
• Historical Anchoring: The reference to Ping Hong, the first Chinese restaurant on Mosley Street in 1948, adds real substance and grounds the poem in local pride.
   
• Post-COVID Spirit: The lines about lockdown lifting and the city coming alive again give it emotional resonance — a hopeful message wrapped in poetic fun.
   

• There’s an appealing repetition of "it wears the crown" and "foods from the orient in the centre of town" — you could enhance this further with a bit more structure or use it as a chorus-style refrain.
   
• Minor grammar tweaks or line edits could sharpen rhythm in places (e.g. “malasian” → “Malaysian”, “makin” → “making” if you'd prefer to keep standard spelling). But if you're going for spoken-word realism, keeping it loose and phonetic totally works.
   

Together, your painting and poem form a powerful cultural tribute to Manchester’s Chinatown — its history, resilience, and flavor. There's humor, heart, and color in both forms. You’ve brought together celebration, nostalgia, and community, with a very personal and local touch. It feels like a love song to a place that means a lot to you.

A3 Limited Edition Print £50 Contact me

Pray for Manchester Through thick or thin

 We wont give in 

 Cos we stand together  

Loud and proud   

So I ll say it outloud   

Were the worker Bees  of Manchester  

we stand together  

forever  

buzzin about   

with a mancunian swagger 

like mick jagger  and oasis 

 were mad fer it mate  

we don’t hate 

 just get irate  

with the government fools  

there all tools   

wars and rumours of wars  

and prices going up   

weve had enough  

whats up  I hear you say  

just got to say   

Stop all wars   

Killin, Namin and shamin 

Stop yer gamin   

Cos yer Doin me head in 

You know it’s a sin   

So give in  

 You wont win  

 so  Pray for Manchester 

Through thick or thin 

We wont give in  

Cos we stand together  

Loud and proud   

So I ll say it outloud  

 Were the worker Bees  of Manchester  

we stand together  

 gonna live forever  

https://youtu.be/NADbiAtN8VQ

Hi everybody here is a painting and video of Exchange Bus depot Modernised by Night by Andrew Alan Matthews , Hope you like it 

Original Available,  or A3 Print £50 contact me 

A bit of history 

The bus station used to be here and was a link for Salford and Manchester until it moved to near Shudehill Bus Station and tram stop. My dad used to drive buses here and used to come in and out all the time

Story by Andrew Alan Matthews 

Exchange Bus Depot Modernised by night 

A modern view near the Cathedral

Buses used to come in and out 

Salford and Manchester

A Link to both cities

Now its sitting pretty 

With modern glass buildings 

High in the sky 

And there’s an old guy 

Lookin at his phone 

Hes startin to groan 

Cos it’s the meeting place 

Architecture in yer face

She’s meant to be here at 9 

He’s gonna wine and dine 

Its Devine 

But now its getting late 

He’s getting irate 

Cos she’s stood him up 

Calls her number time and again And then again

Its happened before 

He knows the score 

“Ah well” he says to himself 

He’s left on the shelf

looks round this place 

Architecture in yer face 

“Its changed round here 

I think ill have a beer” 

So Yeah 

Exchange Bus Depot Modernised by night 

A modern view near the Cathedral 

Buses used to come in and out 

He starts to walk out 

https://youtu.be/Yw9QfBinSB4

 Please write a review and critique on my painting and story about Vitoria exchange square, 

Your painting of Victoria Exchange Square, with the story "Exchange Bus Depot Modernised by Night," beautifully captures the evolution of this iconic space. The painting's dramatic contrasts of light, dark, and urban textures give a palpable sense of the transition from a bustling, old-world bus depot to a modern, sleek cityscape. You’ve effectively conveyed the juxtaposition of history and modernity with the glass buildings rising around the more classic architecture. The Star Wars and McLean billboards add a touch of commercial and cultural vibrancy, grounding the piece in a contemporary setting.

The central figure of the old man, seemingly lost in thought, is an evocative choice that speaks to the emotional undercurrent of your poem. The urban setting feels both empty and full of potential, much like the protagonist's experience—waiting, disappointed, but still somewhat resigned to the passage of time. The man's isolation in the square draws the viewer's eye to the tension between the fast-paced urban environment and his quiet, personal frustration.

Your poem wonderfully complements this image. The shift from hope to resignation as the man waits for a date that doesn't show up feels relatable. The humor in the poem, with lines like “he’s left on the shelf” and “I think I’ll have a beer,” brings a human touch to the otherwise cold and impersonal environment of the modernized square. It’s a delightful mix of humor, loneliness, and acceptance.

Some suggestions for improvement:

1. Details in the figure: While the man's expression is clear, enhancing his features or positioning him more dynamically in the scene could deepen the emotional connection between him and the viewer.
    
2. Focus on the architecture: Your depiction of the buildings and the "architecture in yer face" is strong, but perhaps some softer, more subtle lighting effects in the glass structures could introduce a gentler contrast between the man's isolation and the modern city's vibrancy.
    

Overall, this piece offers a compelling story and striking visual, with a strong narrative that invites reflection on urban life, personal moments, and the passage of time. Your exploration of the square's transformation is both engaging and thought-provoking, offering a vivid snapshot of change, modernity, and human experience.

Hi everybody here is a painting and video of the great Northern Warehouse in Manchester, and a story of times gone past. Hope you like it 

Original Available, or A3 Limited Edition print £50 

Contact me andrewalanmatthews.co.uk 

A bit of History 

The Great Northern Warehouse is the former railway goods warehouse of the Great Northern Railway in Manchester. which was refurbished into a leisure complex in 1999. The building is at the junction of Deansgate and Peter Street. It was granted Grade II  status in 1974. 

The warehouse was built to be fireproof with a steel frame on a rectangular plan, 267 ft long by 217 ft wide and five storeys high, with 27 windows on the east and west sides and 17 windows on the north and south ends. All four sides have friezes lettered in white brick reading "Great Northern Railway Company's Goods Warehouse". It was built above the Manchester and Salford Junction Canal and a dock was constructed beneath to allow goods to be transferred to and from canal barges via shafts and a complex system of haulage using hydraulic power 

The building could hold a total of 150 goods wagons across two of its levels, with capacity for a further 500 in its sidings. Its construction effectively wiped out the district of Alport Town which had included 300 houses, and "Over 800 men were employed on the site. 25 million bricks, 50,000 tons of concrete, 12,000 tons of mild steel and 65 miles of rivets were used in its construction".

According to Historic England the warehouse is a "unique survival of a three-way railway goods exchange station, serving the railway, canal and road networks of the Manchester region."

As of February 2023, the development includes an Odeon Cinema, casino, restaurants, bars, bowling alley, gym, and a multi story car park 

Story by Andrew Alan Matthews 

The Great Northern Warehouse 

People are posing 

Imposing 

leisure 

For your pleasure

Cinemas, bars and stars 

As People Meet and greet 

Shuffling there feet 

On a Mancunian street

Or on the way to work 

Jerkin, Smirkin and flirtin

Day or night its alright

But The great northern 

used to be 

railway goods warehouse 

In the centre of town 

Mancunians getting down 

In a Victorian town 

And Back in the day 

People used to say 

Railway workers

Textile workers

Toiled away 

In the smog of the day 

Flat caps n clogs 

Bowler hats 

Aristocrats 

Walk on by 

Under a grey 

Mancunian sky

imagine 

The Mancunian scene 

In a Victorian dream 

People scream

Of better days to come 

And today 

Good times are here 

We can cheer 

So yeah 

The Great Northern Warehouse 

People are posing 

Imposing 

leisure 

For your pleasure

Cinemas, bars and stars 

People Meet and greet 

Shuffling there feet 

On a Mancunian street

Cos Lifes a treat 

In this Mancunian Street 

https://youtu.be/x1n0wVyoXR0

 Please write a review and critique of my painting and story of the great northern warehouse manchester. 

Your painting of the Great Northern Warehouse captures both the energy and transformation of Manchester, blending the past and present with an exciting, urban vibrancy. The use of bold, expressive brushstrokes, particularly in the figures and the architecture, brings a sense of movement and life to the piece. The contrast between the traditional brickwork of the warehouse and the glassy, modern structures around it symbolizes the evolution of the city. The cityscape is alive with a hint of nostalgia for a time when the building housed the bustle of railway and textile workers, while today it represents leisure and commerce.

The figures in your painting, scattered across the scene, add a narrative layer, echoing the themes of the poem. The busy foot traffic, the varied postures of the people, and the juxtaposition of old and new architecture emphasize the pulse of Manchester's streets. The light and colors in the sky, along with the figures, feel dynamic yet grounded, providing an ideal backdrop to the building's historical significance.

As for the poem, its rhythmic structure and playfulness add an extra layer of engagement to the visual piece. The contrast between the historical past and contemporary moments is effectively captured in both your words and art. The repetition of "posing, imposing" and the lively descriptions of modern-day leisure and interaction alongside references to the working-class history of Manchester give the poem a full sense of time. The poem’s upbeat tone and celebratory mood balance the somber reflections of the past, suggesting a sense of optimism and forward movement.

Critique-wise, you might consider enhancing the imagery in the poem to add more sensory details or contrasts. For instance, contrasting the noise, smell, and tactile sensations of a bustling Victorian era with the polished, commercialized present could deepen the connection between past and present in your narrative.

Overall, both the painting and the poem wonderfully reflect the enduring spirit of Manchester and its transformation, offering a visual and poetic journey through its history. The combination of visual art and poetry makes for a powerful reflection on the resilience and ongoing vitality of the city.

Hi Everybody here is a painting and short story about the John Rylands Library Manchester hope you like it 

A3 Limited Edition Print £50 contact me 

A bit of history 

The John Rylands Research Institute and Library is a late Victorian neo gothic building on Deansgate in Manchester England. It is part of the University of Manchester The library, which opened to the public in 1900, was founded by Enriqueta austine Ryland in memory of her husband, John Rylands Library It became part of the university in 1972, and now houses the majority of the Special Collections of University of Manchester, the third largest academic library in the United Kingdom.

Special collections built up by both libraries were progressively concentrated in the Deansgate building. The special collections, believed to be among the largest in the United Kingdom, include medieval illuminated manuscripts and examples of early European printing, including a Gutenberg bible, the second largest collection of printing by William Caxton and the most extensive collection of the editions of the Aldine Press of Venice The Papyrus P52 has a claim to be the earliest extant New testament text. The library holds personal papers and letters of notable figures, among them the novelist Elizabeth Gaskell and the scientist John Dalton 

The architectural style is primarily neo-Gothic with elements of the Arts and crafts movement in the ornate and imposing gatehouse, facing Deansgate, which dominates the surrounding streetscape. The library, granted grade 1 listed status in 1994, is maintained by the University of Manchester and open for library readers and visitors.

The library is one of the museum, library and archive collections of national and international importance under the Designation scheme for England.

A short story by Andrew Alan Matthews 

John Rylands Library

Special collections await you 

Victorian Neo Gothic 

Pick a topic

arts and crafts style

Just smile

It Looks like a church 

librarians holy place 

its an iconic place

Monastery gatehouse 

Opens to cathedral 

Of medieval books

Vaulted ceilings 

And Masonry 

lovingly carved 

Just look and read 

Illuminated manuscripts 

In the crypts

Theres scripts 

in the 

John Rylands Library 

You can feel 

History coming alive

Yeah It’s the bee hive

Of knowledge and power 

On Deansgate Manchester 

Feel it coming alive 

As you arrive 

In the sun or rain 

Its all the same 

And when your done 

And walk out the door 

Your Soaked in history

And mystery

So go to the lost dene pub 

And have some grub 

In a Manchester pub 

So yeah 

John Rylands Library

Special collections await you 

Victorian Neo Gothic 

Pick a topic

In arts and crafts style

Just smile

It Looks like a church 

librarians holy place 

its an iconic place 

https://youtu.be/63379DCED0Y.

 Please write a review and critique on my painting and story of the john Rylands Library Manchester, 

Your painting of the John Rylands Library beautifully captures the intricate architecture and atmosphere of this iconic Manchester landmark. The use of bold, expressive brushstrokes to depict the Neo-Gothic style creates a sense of grandeur, while the vivid colors bring life to the imposing stonework. The reflection of light on the wet street adds depth and texture, making the scene feel almost cinematic. The presence of figures walking along the street brings a dynamic, human element to the piece, subtly illustrating how the library interacts with its environment, bustling with life and history.

Your poem further complements the visual story by emphasizing the John Rylands Library as both a cultural and historical beacon. The narrative flows from a descriptive admiration of the library's architecture—such as the "Vaulted ceilings" and "lovingly carved masonry"—to an invitation for exploration of its "special collections" and "medieval books." The imagery of the "bee hive of knowledge and power" aptly ties into the symbolism of the library as a hub of intellectual activity, rooted in both history and mystery.

The poem's casual tone, with lines like "Just smile" and references to the nearby "Lost Dene pub," adds a sense of warmth and approachability to a space that might otherwise seem imposing due to its size and architectural style. The idea of soaking in history and mystery both before and after visiting the library brings a grounded, relatable perspective to the poem, suggesting that the experience of being there is more than just about the books—it's about the overall feeling of connection to the past.

1. Structure and Rhythm: The poem reads like a stream of consciousness, which suits the informal and inviting atmosphere you're creating. However, there are moments when the lines feel a bit disjointed, such as in the transition between the architectural description and the suggestion of heading to the pub. A smoother connection between these elements might help the reader follow the flow more seamlessly.
    
2. Repetition: The repetition of phrases like "Special collections await you" and "It looks like a church" works well to emphasize the importance of the library, but it could be streamlined slightly to avoid overuse. Perhaps repeating these ideas with slight variations would keep the poem fresh while maintaining its core themes.
    
3. Imagery: The imagery of the "crypts" and "illuminated manuscripts" conjures a haunting, almost mystical vision of the library, which is intriguing. Consider expanding this imagery slightly to draw readers deeper into the magical world of the library.
    
4. Tone: The informal, conversational tone is a great choice for making the poem feel accessible, but balancing it with moments of more formal, poetic language could add some texture and contrast, particularly when describing the library's architectural features.
    

Overall, both the painting and the poem work in tandem to celebrate the John Rylands Library, inviting viewers and readers into an immersive experience. The blending of art and poetry showcases a deep appreciation for both the historical and contemporary significance of this beloved institution.

Hi everybody here is a painting of The Atlas bar Manchester No3 by day

Hope you like it

Original Available, or A3 Limited edition print £50

Contact me andrewalanmatthews.co.uk

A Bit of History

Situated in the railway arches of Deansgate, Atlas Bar has been a Manchester icon for over two decades, and has matured into an elegant, quality bar specialising in gins from around the world; over 570 at the last count! The largest offer in Manchester City Centre.

Winner of Best Spirits Bar North West and Best Bar Team North West in The Great British Pub Awards alongside the Design My Night Best Beer Garden Award and a finalist in the 2019 Star Pub Awards for Best Spirits Bar in the UK.

Story by Andrew Alan Matthews

Storms are clearin 

In this Manchester town 

Yeah Its been lashin it down 

For days on end 

As Grime and clutter 

Are Washed Down the gutter

Streets are cleansed 

thunder and lightning

its frightnin

as rain gushes 

down the throat of a spout 

yeah gargoyles spew water 

from a ledge so high 

Mancunian sky 

roll on by

cos into your life 

rain must fall 

hard knocks of life 

going through life 

with strife

but better days 

are comin 

so look to the heavens 

and you can see

Storms are clearin 

In this Manchester town 

Its been lashin it down 

For days on end 

As Grime and clutter 

Are Washed Down the gutter

Yeah 

Its nearly summer

https://youtu.be/AP_7pMg9zXU

 Please write a review and critique about my painting and story The Atlas bar nor by day . 

Your painting and accompanying story titled The Atlas Bar: Not by Day beautifully capture a moment in Manchester, blending the raw energy of the weather with the emotional undercurrents of urban life. The painting itself is rich in texture and color, effectively reflecting the mood of the storm clearing. The bustling scene of the streets, with its bright pops of color contrasting the stormy sky, brings to life the resilience of Manchester. The figures walking along the street convey both movement and purpose, 

enhancing the sense of daily life continuing amidst the forces of nature.

The story you’ve written ties in beautifully with the visual elements of the painting. The vivid imagery of storms, rain, and cleansing is evocative, setting a tone of both struggle and hope. Your narrative captures a strong sense of the city’s pulse—how its people endure the stormy trials of life, both literal and metaphorical, yet always look toward the brighter days ahead. 

The repetition of the line “Storms are clearing in this Manchester town” creates a rhythmic sense of optimism, like the gradual but inevitable arrival of summer after a long, harsh period. The symbolic cleansing of the streets echoes the emotional clarity that comes after a storm, hinting at renewal and a fresh start, both for the city and its inhabitants.

If I were to offer a critique, I would say that while the imagery is rich, you might consider deepening the contrast between the stormy and calmer sections of the story. Perhaps you could explore how the resilience of the people of Manchester is reflected in the architecture or the subtle elements of the cityscape. Adding more personal stories or vignettes of individual characters within the crowd might also enhance the emotional depth of the piece, highlighting the individual experiences amidst the shared backdrop of urban life.

In terms of the painting, perhaps incorporating even more atmospheric lighting, such as the warm glow of street lamps cutting through the wet streets, could add a sense of intimacy and connection to the scene. This would draw attention to the small, quiet moments that often accompany city life after a storm—those moments of reflection and calm before the busy rush of the day begins again.

Overall, both the painting and the story come together to evoke a deep sense of place and time, capturing the essence of Manchester, its weather, and its people in a unique and compelling way.

COMMENTS FROM THE GENERAL PUBLIC

 The poem brought a smile to my face and I like the picture too. Not keen on the ad in the middle. 

 The colours of the picture are Manchester. I miss the richness of the colour of the old buildings after the rain. The skyscrapers sort of intimidate my senses away from those observations. The poem is just spot on. My Mum used to say regular "We need a good storm" They'd have both loved this page. 

 Your paintings and words are briiliant. Course I went straight to the Moss. I remember Penny for The Guy, Mum always slipped me tuppence to put in "Don't tell your brothers and sister went we get back". Course I didn't. The spirit and resilience of us kids, transforming the stress and negatives into beautiful works of art and words after earning a penny or two minding a car. You probably looked after my Dads when we went  

 I'm going to show these to younger members of the family. 

by K. J 

 A great bar. I remember when it was Atlas Auto Electrics , I worked almost next door at Marsh & Jeffrey’s  by Karl

 Love this. by Annie