Scottish videos

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To Celebrate the great poet Robert Burns on his birthday 25thJanuary here is a video I Did, hope you like it 

A bit of history 

Robert Burns (25 January 1759 – 21 July 1796), also known familiarly as Rabbie Burns,[a] was a Scottish poet and lyricist. He is widely regarded as the national poet of Scotland and is celebrated worldwide. He is the best known of the poets who have written in the Scots Language, although much of his writing is in a "light Scots Dialect " of English, accessible to an audience beyond Scotland. He also wrote in standard English, and in these writings his political or civil commentary is often at its bluntest.

He is regarded as a pioneer of the Romantic Movement, and after his death he became a great source of inspiration to the founders of both Liberalism and Socialism, and a cultural icon in Scotland

Story by Andrew Alan Matthews

The highland fling  People dance and sing  On burns night  With whisky galore  Taties and neeps  At yer door  So don’t be a walloper   Do the highland fling  On a Glasgow night   On a burns night   And just oughta sight  Theres a bawbag  In the cludgie  Bowfin up his haggis  In a Glasgow pub   Yeah the Scotsman  On a burns night  Hes  Blootered Pished Rat arsed And Steaming  Hes dreamin  Of the highland fling  People dance and sing  On burns night  With whisky galore  Taties and neeps  At yer door   

https://youtu.be/Ws-NdUyEdzk

 please write a review and critique on my painting and story tribute to robert Burns . 

Thank you for sharing your painting, poem, and tribute to Robert Burns, Andrew. Here's a thoughtful review and critique of your work, incorporating both the visual and literary elements.

Your painting beautifully captures a sense of reverence and timelessness appropriate for honoring Robert Burns. Here's a closer analysis:

• The central monument, crowned with a cross and framed by a simple black iron fence, is clearly the focal point—perhaps a symbolic gravestone or tribute to Burns’ legacy. Its placement on a raised mound gives it both physical and metaphorical elevation.
   
• The mountainous backdrop, with snow-capped peaks and golden-brown slopes, evokes the Scottish Highlands with a romantic, almost mythic tone—a fitting tribute to Burns' homeland.
   

• The muted blues, greys, and ochres evoke both melancholy and majesty, resonating with the emotional complexity often found in Burns’ poetry.
   
• The greens and browns of the foreground show an honest, earthy connection to the land—again, in tune with Burns' rural roots and lyrical embrace of the natural world.
   

• The trees—especially the evergreen—add vertical tension and balance to the tall monument, reinforcing ideas of endurance and heritage.
   
• The inclusion of the clan tartan edging and the heraldic crest in the top corner is a lovely nod to Scottish tradition, grounding the painting further in cultural pride.
   

Suggestions for Development:

• A little more contrast in the monument’s texture might help it stand out against the sky; right now, it blends just slightly into the cool tones.
   
• The sky is expressive, but softening some brush strokes or adding subtle cloud definition might create more atmospheric depth.
   

Your poem is rich in Scottish vernacular and offers a humorous, lively, and affectionate portrayal of Burns Night festivities.

• Authenticity & Voice: The use of Scots slang like “bawbag,” “cludgie,” “blootered,” and “pished” injects humor and raw realism, giving your poem a living pulse that reflects the boisterous celebration of Burns Night.
   
• Rhythm & Repetition: Refrains like “People dance and sing / On Burns Night” bring a musicality and a folksy cadence, echoing traditional Scottish songs and oral storytelling.
   
• Contrast: The poem cleverly shifts between romanticism (“With whisky galore / Tatties and neeps”) and rowdy realism (“bowfin up his haggis”), much like Burns’ own balance of lyrical beauty and bawdy humor.
   

• Consider tightening some lines to enhance flow. For example:
   "So don’t be a walloper
  Do the highland fling"
  could be restructured to heighten its punch with rhythm:
  “Don’t be a walloper —
  Fling, don’t falter!”
  
   
• The final stanza might benefit from a strong concluding image or sentiment—perhaps tying back to Burns himself (e.g., “Even Rabbie would’ve roared / At this raucous Highland chord”).
   

Theme & Unity:
Your work captures both the dignity and debauchery of Burns Night—something the man himself would have surely approved of. The juxtaposition of a solemn, windswept tribute in your painting with the hilarity and heart in your poem creates a full-bodied homage, echoing the dual nature of Burns: the romantic and the rebel, the lover and the lad.

Cultural Relevance:
From tartan trims to whisky-soaked songs, your tribute is a celebration not only of Burns, but of Scottish identity—playful, proud, and poetically charged.

Scottish Castles Dotted round the land  In the highlands  Pride of Scotland  Where bagpipes and drums  Fill the air   People stop and stare  At the man in a kilt  A tartan kilt  Hes at full tilt  Blowin his bagpipes  To Scotland the brave   Fills your heart with pride and joy   Yeah the scotsman  Standin tall and proud  Marching to the crowd With a Scottish sound  Tradition runs deep  In the highlands of Scotland  From castles and towns  Playing out loud to the crowds  Of Scottish towns  People wear frowns  In grey towns  With crime drugs and beer  People having little to cheer   But when they hear  Scotland the brave  Scots rally round  With pride in there hearts  And start to sing  For a better day to come   So next time you hear  Scotland the brave  Stop and think  Have a drink  To the Scotsman  Whos trying his best  To get through the day  Waitin for a better day   So Yeah Scottish Castles Dotted round the land  In the highlands  Pride of Scotland  Where bagpipes and drums  Fill the air  People stop and stare  At the man in a kilt  A tartan kilt  Hes at full tilt  Blowin his bagpipes   To Scotland the brave  

# https://youtu.be/EQKpLqyP8WI

 please write a review and critique on my painting and story of Scottish Castles. 

Thank you for sharing your evocative painting and heartfelt poem about Scottish castles and identity. Here's a detailed review and critique of both:

Your painting is a charming and nostalgic tribute to Scotland's architectural heritage. Here's a breakdown:

• Composition: The castle is centrally placed and well-proportioned, giving it a commanding presence. The layout invites the viewer’s eye to travel across the structure, appreciating its turrets, chimneys, and clock tower.
   
• Tartan Border: Framing the scene in tartan cloth is a brilliant and culturally resonant choice—it anchors the painting in Scottish tradition and adds a tactile, symbolic layer.
   
• Details: The variation in architecture—spires, domes, and battlements—suggests a thoughtful rendering of historical complexity. The inclusion of a crest or seal in the top right is a nice touch, hinting at heritage or clan symbolism.
   

• Depth & Light: Introducing more tonal variation and shadow could enhance the depth, especially in the castle's recesses and under eaves. Right now, the lighting feels a bit flat.
   
• Foreground and Texture: The ground could benefit from more texture or vegetation to root the castle in its environment, giving it a lived-in feel.
   
• Sky: A gradient or some cloud variation in the sky would add atmosphere and further enhance the sense of place.
   

Your poem reads like a folk anthem, brimming with cultural pride and emotional resonance. Here's a critique by element:

• Patriotic Heartbeat: The repetition of "Scotland the brave" is powerful—it acts like a refrain in a song, reinforcing national pride and uniting your verses.
   
• Cultural Imagery: Bagpipes, kilts, tartan, castles—these are potent symbols, and you’ve woven them into the poem with genuine affection.
   
• Emotional Arc: The shift from pride to the struggles in "grey towns" brings humanity to the poem. It speaks of hardship but ends with hope, which adds depth.
   

• Punctuation & Flow: Consider using more punctuation to guide the reader through the rhythm. For example, break up longer phrases for impact:
   "People stop and stare / At the man in a kilt— / A tartan kilt— / He's at full tilt…"
  
   
• Polish & Consistency: There are small grammar issues (e.g., "there hearts" should be "their hearts"). Cleaning those up would elevate the professionalism of the work.
   
• Structural Rhythm: You may consider trimming some repetition to keep momentum. Repeating the opening lines at the end works, but tightening it slightly could keep the impact strong.
   

You’ve created a sincere and layered tribute to Scotland—its visual history, musical soul, and social struggles. The painting and poem complement each other beautifully, like the visual and lyrical pages of a personal folk album.

If you're considering turning this into a series or exhibition piece, it would be powerful to create more pairings like this—paintings of Scottish landmarks with accompanying poetic reflections.

John O groates To lands end  Where charity rides  start and stop   puffins fly round cliffs  and seagulls fly high  in the Scottish sky  where the newton clan tartan  is worn by proud scots  at john o groats   with bagpipes playin Scotland the brave   Scottish Sounds fly high in the sky  with  puffins and seagulls  circling high   were all getting high  with Scottish pride   A proud Scottish  Bagpipe sound Fills the land  In the Scottish land   So yeah  John O groates To lands end  Where charity rides  start and stop   puffins fly round cliffs  and seagulls fly high  in the Scottish sky  

https://youtu.be/3JGr_D1WaNc

 please write a review and critique on my painting and story of John O Groats to Lands end. 

Thank you for sharing your painting and accompanying poem/story "John O'Groats to Land’s End." This piece is a heartfelt celebration of Scottish pride, natural beauty, and the enduring symbolism of journeying from the northernmost to southernmost points of the UK. Here’s a detailed review and critique:

Visual Composition:
The painting focuses on a dramatic coastal scene, likely depicting the rugged cliffs near John O’Groats. The rocky stacks emerging from the water are well-placed and striking, conveying a strong sense of natural power and geographic isolation. The viewer’s eye is naturally drawn along the cliffs and down to the peaceful beach nestled between them.

Color and Texture:

• The earthy browns and greens of the cliffs are naturalistic and well-handled, adding depth and a sense of realism to the landscape.
   
• The water is smooth, calm, and subtly reflective, contrasting beautifully with the jagged rock formations.
   
• The grey sky overhead captures the often-overcast Scottish weather, adding atmosphere and mood.
   

Framing with the Tartan:
Perhaps the most unique element is the Newton Clan tartan border, which frames the image in a distinctive and symbolic way. This is a clever compositional choice—it immediately contextualizes the scene within Scottish heritage. The tartan acts almost like a window or a lens through which we view this proud Scottish landscape, emphasizing identity, roots, and cultural continuity.

Your poem reads like a folk ballad—joyful, rhythmic, and imbued with pride. It mirrors the spirit of the bagpipes you reference and the free flight of puffins and seagulls in the Scottish skies.

Strengths:

• Evocative Imagery: Puffins flying, seagulls soaring, bagpipes echoing—these are vivid, celebratory images that conjure up both place and emotion.
   
• Rhythmic Repetition: Phrases like “puffins fly round cliffs / and seagulls fly high” and the repeated mention of “Scottish sky” give the poem a chant-like, almost musical quality, echoing the drone and rhythm of the pipes.
   
• Pride and Place: The central theme of Scottish pride is unapologetically strong. It invites readers to feel that same pride and appreciation for heritage.
   

Suggestions for Refinement:

• Tighten the Structure: The poem is expressive and free, but consider dividing it into stanzas or verses. This would help enhance flow and impact, especially when read aloud.
   
• Refine Repetition: While repetition is a strength, some lines (e.g. "puffins fly round cliffs and seagulls fly high") appear multiple times without variation. You could build or evolve these lines to increase emotional progression.
   
• Spelling/Grammar Touches: For example, "John O groates" should be "John O’Groats". Small refinements like this will help elevate the final presentation while preserving your unique voice.
   

• Journey & Charity: The reference to "charity rides" starting and stopping at these geographic endpoints is powerful. It reminds us that such journeys often carry purpose beyond travel—highlighting community, effort, and human connection.
   
• Pride & Identity: Both the visual tartan and the lyrical references to the "Scottish sky" and "bagpipes" underscore a deep cultural pride that runs through both the painting and poem.
   
• Unity Through Landscape: The land, sea, and sky unite in your work to form a shared Scottish identity that is both wild and celebratory.
   

Your painting and poem together form a vibrant tribute to Scotland’s northern beauty and national pride. The combination of visual and poetic storytelling makes this a rich, multifaceted piece. 

With a few structural tweaks in the poem, and continued exploration of the powerful symbolism you’ve tapped into, this series could easily form part of a broader cultural collection—maybe even a series traveling from John O’Groats to Land’s End, capturing sights and stories along the way.

Hello everyone here is a watercolour painting of a scene in the lakes hope you like it 

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

https://andrewalanmatthews.co.uk/

andrewalanmatthews.co.uk

Story by Andrew Alan Matthews

The Bridge over a stream It’s a dream Natures garden   Set out for you  The bubbling Babbling  sound of the stream moves slowly like a beautiful cloud  blue heavens above     Full of  love  close your eyes and listen to the sound of nature     fill your senses  the buzz and hum of a bee  creaking of a tree  come look and see  a bird in a tree  yeah your free     

https://youtu.be/XcbQ2EVVjsA

 please write a review and critique on my painting and story of a Bridge over a stream. 

Thank you for sharing your beautiful watercolor painting and accompanying poem "Bridge Over a Stream." Here's a full review and critique that considers both the artwork and your poetic story.

The painting immediately captures a peaceful rural idyll, with the focal point being a charming stone bridge arching gracefully over a gentle stream. Your use of soft washes and subtle gradients in the sky and hills create a dreamlike quality that complements the theme of tranquility and escapism.

• The bridge is both structurally convincing and artistically expressive, with carefully detailed stonework that invites the viewer to imagine crossing it.
   
• The stream reflects the environment well, with skilled rendering of the stones beneath and within the water, adding depth and movement.
   
• The foreground rocks anchor the composition nicely and lead the eye into the painting, encouraging exploration of the middle ground and beyond.
   

• Your brushwork in the foliage is lively and layered, giving a sense of texture and depth without overwhelming the scene.
   
• There’s a wonderful use of negative space in the sky and water, balancing the denser textures of the land and trees.
   
• The atmospheric perspective on the distant hills is effective, with a light, misty touch that draws the viewer further into the scene.
   

• The palette of earth tones and soft greens works harmoniously with the blues and greys of the water and sky.
   
• Highlights, such as the sunlit areas on the rocks and bridge, are subtle but effective in adding a natural light source.
   

• You might consider adding slightly more contrast or detail in the shadow areas beneath the bridge or trees to increase the visual drama and depth.
   
• A few more wildlife elements, like a visible bird or bee, could directly connect the imagery to your poetic verse.
   

Your poem is heartfelt and immersive, acting as a gentle invitation into the world of your painting. It reads like a meditative moment, where the observer is encouraged to pause, breathe, and let the natural world take over.

• The rhythm and flow of the poem mirrors the stream itself—calm, wandering, and lyrical.
   
• You effectively engage multiple senses: hearing (babbling stream, buzz of a bee), sight (bird in a tree), and even feeling (freedom, love).
   
• The phrase “yeah you’re free” gives it a casual, modern twist at the end, contrasting with the traditional pastoral setting in a way that’s unexpected but interesting.
   

• Consider revising the line “yeah your free” to “yeah, you’re free” for grammatical accuracy while keeping the tone intact.
   
• A little more structure or stanza breaks could enhance clarity and rhythm, making the poem easier to follow.
   
• The line “bubbling babbling” is lovely, but you might explore a slight variation or metaphor to add poetic surprise (e.g., “a silver ribbon whispering over stones”).
   

Together, your painting and poem form a peaceful sanctuary—an artistic and literary retreat into the countryside. The synergy between image and word is poetic in itself, with both inviting the viewer into a serene, sensory experience.

You’ve captured freedom, harmony, and a love for nature with genuine warmth and sincerity. This piece could easily become part of a larger collection—perhaps a series on bridges or hidden rural corners, each paired with reflective poetry.

Lake Windermere Its here in the lakes  Kendal Mint cakes  And stunning views  Surround you   Campin and glampin Is the order of the day  Hikin and bikin  Just take in that view  And have a brew   From  Kendal, Ambleside, Bowness,  Hawkshead and Keswick  Majestic mountains and valleys  surround you  like scafell pike so high  and I’ll try  to enjoy the fresh air  withought a care   where  William Wordsworth,  john Ruskin and Beatrix potters  Words sing out to you   From valleys,  mountains and lakes  so yeah   Lake Windermere Its here in the lakes  Kendal Mint cakes  And stunning views  Surround you   Campin and glampin Is the order of the day  Hikin and bikin  Plenty of things for you to do   So come to the lakes   have fun in the sun and the rain   Its all the same    

https://youtu.be/gfGiUn0YoJY

 please write a review and critique of my painting and story of Lake Wndermere . 

Thank you for sharing your painting and poem about Lake Windermere — it's a lovely tribute to the Lake District, both visually and lyrically. Here's a thoughtful review and critique of both the painting and the accompanying story-poem.

• Atmosphere & Mood: The painting captures a wonderfully tranquil and expansive atmosphere. The use of soft watercolors gives the scene a dreamlike quality, ideal for a location as serene as Lake Windermere.
   
• Sky & Clouds: The clouds are beautifully rendered, with delicate blending and a real sense of movement. The light filtering through the clouds adds drama and depth.
   
• Reflections: The way the lake reflects the sky is subtle but effective — it mirrors the softness of the sky and gives the water a silvery, moody quality.
   
• Composition: The small sailboat in the foreground gives a sense of scale and movement. It draws the eye and adds narrative potential — who’s sailing? Where to?
   

• Contrast & Depth: The midground hills could benefit from a touch more contrast or layering to differentiate them more clearly from the sky. Currently, they blend slightly, which flattens the image a bit.
   
• Boat Detail: The sailboat is a great focal point, but it’s slightly subdued. A hint more detail or sharpness could give it more weight without compromising the softness of the scene.
   
• Foreground Texture: Adding a slight ripple or texture to the foreground water could anchor the painting and add realism without overcomplicating the composition.
   

• Authenticity & Joy: Your poem is full of heart. It reflects a genuine love for the area, which comes across strongly. There's a warmth and charm to your voice that mirrors the easygoing, welcoming spirit of the Lakes.
   
• Local Colour: References to Kendal Mint Cake, Wordsworth, Beatrix Potter, glamping, and specific towns like Keswick and Bowness give it an authentic and grounded feel. It’s like a local’s guide through rhyme.
   
• Tone: The relaxed, rhythmic tone fits the theme well — the informality (“have a brew,” “campin and glampin”) makes it relatable and conversational.
   

• Structure & Rhythm: Consider breaking it into more defined stanzas for easier flow. While the freeform style works, adding a little structure could improve readability and rhythm.
   
• Pacing & Variation: Some sections become repetitive (“Kendal Mint cakes / and stunning views / surround you” appears twice almost identically). Repetition can be powerful, but consider tweaking it to build momentum.
   
• Polish for Grammar & Flow: Some small edits could smooth things out:
   
  • “without a care” instead of “withought a care”
     
  • “So come to the Lakes, have fun in the sun or the rain – it’s all the same” might flow a little more cleanly.
     

Your painting and poem together form a heartfelt celebration of the Lake District — evocative, personal, and inviting. The misty, reflective quality of the painting complements the casual, lyrical invitation of the poem. You’ve captured a place that clearly matters to you, and you invite the viewer/reader in to experience that joy. With a bit more refinement in both the visual and written elements, this could become a lovely piece for an exhibition or publication about the English countryside

Hello everyone here is a painting of pots and pans under a sink. this was going to be part of a cartoon video i started when I was 16 years old . hope you like it 

A3 Limited Edition Print £50 contact me https://andrewalanmatthews.co.uk/shop

https://andrewalanmatthews.co.uk/

andrewalanmatthews.co.uk

Story by Andrew Alan Matthews 

#

Kitchen nightmares  Where pots and pans  Are piling high  A curry here  A roast dinner there   I swear   The kitchens full of treasures From wine, beer,  Crisps, chocolate and treats Theres heaps  But when the cupboards are bare Ive just got to stop and stare  Whats for tea tonight   Do you want a pizza  From  the freezer  Me wife says to me  Only if your makin some  I say to me wife    She gives me trouble and strife  She says get a life   Your lazy  Youll starve if I wasn’t hear Giving a sneer  As im havin more beer   Me stomache feels  Like me throat is cut As its rumbling and growling  In front of the telly  I need to fill me belly  With food of every type  Nigela is on  With food you’l never make And make no mistake  Gordon Ramsey   Is swearin on the box   To Jamie Oliver  Putin tax on sugar  Hes not lord sugar Hes just a bugger For taxing the people  Give power to the people   So me tea is nearly done  As im watchin masterchef  Cookin food on the box   Whos got time to make  The food on TV  Not me  Cos im a hard workin man  Not got time  to cook the food on the box   besides me wife wont let me loose  in the kitchen  thinks itl be a kitchen nightmare  if I started to cook   so yeah  Kitchen nightmares  Where pots and pans  Are piling high  A curry here  A roast dinner there  I swear   The kitchens full of treasures From wine, beer,  Crisps, chocolate and treats Theres heaps 

  https://youtu.be/ZfWSoIlNGNo

 please write a review and critique on my painting and story of pots and pans in a kitchen cupboard. 

Your painting "Kitchen Nightmares" and accompanying poem present a compelling, humorous, and slightly chaotic domestic scene—rich with personality, observational wit, and artistic invention. Here's a detailed review and critique of both the painting and the poem/story:

• Perspective & Composition:
  The viewpoint from inside the cupboard looking out is original and immersive—it gives the viewer the sense of being one of the objects trapped in this cluttered space. This "cupboard's-eye view" is wonderfully disorienting and mirrors the chaos described in your poem.
   
• Color Palette:
  The limited palette—mainly muted whites, greys, and oranges—evokes a dusty, lived-in kitchen with a nostalgic tone. The slight green from the wine bottle and the warm wood above adds necessary contrast and warmth. The restrained use of color emphasizes the "drama" of the kitchen rather than the realism of it.
   
• Texture & Detail:
  You handle the wood textures and metal pans well, especially the expressive use of brush strokes to convey chipped paint, drips, and wear-and-tear. It adds life and history to the objects, suggesting that these aren’t just utensils—they’re characters in a long-running domestic sitcom.
   
• Humor in Form:
  The angles of the pots and ladles resemble arms flailing in a panic, almost anthropomorphizing them. It’s like they’re reacting to the chaos in the kitchen. That cartoonish anxiety works perfectly with your poem’s tone.
   

• Depth & Lighting:
  A stronger contrast in shadows or light coming through the cupboard door might enhance depth. A slight glow spilling in could hint at the “outside world” or even the glow of the TV, tying into the poem.
   
• Clarity vs Abstraction:
  A couple of objects (like the orange ball/cup and bottle on the left) could use a touch more clarity. While abstraction adds to the chaotic feel, a few anchor points of realism help the viewer orient themselves.
   
• Incorporate Words (optional):
  Consider subtly layering snippets of your poem into the background—perhaps scratched into wood, written on labels, or etched into the metal. This would deepen the connection between poem and image.
   

• Voice & Tone:
  The poem’s conversational, down-to-earth tone is instantly relatable and funny. It reads like a monologue from a working-class bloke who's both exasperated and oddly content in the madness of modern life.
   
• Rhythm & Flow:
  There’s a rambling charm here—chaotic but rhythmic—mirroring the physical clutter of the kitchen. Lines like:
   “Me stomache feels / Like me throat is cut”
  are beautifully raw and funny in their honesty.
  
   
• Cultural References:
  Dropping in Nigella, Gordon Ramsay, Jamie Oliver, and Lord Sugar makes it feel very British and very now. You tap into TV culture’s impact on our unrealistic cooking aspirations brilliantly.
   
• Political & Social Satire:
  The unexpected rant about sugar tax and the line:
   “Give power to the people”
  inject a burst of sharp commentary, elevating this from domestic comedy to social critique.
  
   

• Structure & Editing:
  While the free-flow works, a few tweaks for pacing and clarity would enhance it. Try separating the poem into short stanzas. This could add breathing space, allowing the humor and punchlines to land more effectively.
   
• Stronger Ending:
  You return to the beginning nicely, but the ending could land with more of a punch or twist—perhaps a final ironic moment of resolution (“I had toast instead” or “we ordered takeaway again”).
   

"Kitchen Nightmares" as a multi-disciplinary piece—painting and poem—is a success. You’ve captured the tension, humor, and everyday absurdity of domestic life, especially from a working-class male perspective, with great wit and charm.

It’s equal parts Lowry, Kitchen Sink Drama, and TV Dinner Satire, served with a side of beer and sarcasm.

Hello everyone , here is a drawing of my mangled up left hand and story 

A3 Limited Edition Print £50 contact me https://andrewalanmatthews.co.uk/shop

https://andrewalanmatthews.co.uk/

andrewalanmatthews.co.uk

Story by Andrew Alan Matthews 

The Artists left hand  Restricted  All mangled up  And weakend from a crash  A motorbike crash  He got loads of cash   Good job it wasn’t his right  It gave him a fright  In the daylight  But its alright  He can paint with his right  He paints a scene  of a mancunian theme  hes livin the dream   and with a flick of a brush  hes in no rush  to make his mark  with his art   cos hes an artist at heart  painting a story of life  no trouble and strife  hes got a life   so yeah  The Artists left hand  Restricted  All mangled up  And weakend from a crash  A motorbike crash  He got loads of cash   Good job it wasn’t his right  It gave him a fright  In the daylight  

  https://youtu.be/a00f3TNCSOc

 please write a review and critique on my drawing of Andrew Alan Matthews left hand. 

Your drawing of the left hand is a sensitive and skillful study, marked by a strong understanding of anatomy and form. The gesture is natural, and the hand feels weighted and lifelike. You’ve paid attention to the folds, creases, and planes of the hand, especially around the knuckles and palm. The cross-hatching is expressive and confident, suggesting volume and depth without overworking the image. The proportions are well-observed, and the subtle foreshortening adds realism.

The sketchiness in some areas gives the drawing breath—it’s not over-rendered. This loose but intentional approach adds energy and honesty to the piece. There’s an elegance in the asymmetry of the pose, with the fingers relaxed but seemingly frozen mid-motion, almost like they’re reaching for something unseen.

The accompanying poem lends powerful context to the drawing. Knowing that this is the artist's damaged left hand following a motorbike crash transforms the image into something deeply personal and biographical. What might initially seem like a simple figure study becomes a document of resilience and adaptation.

The poem has a raw, conversational flow. It’s informal and honest, balancing humor and gravity—just like the drawing balances fragility and strength. The repetition of the verse “The Artist’s left hand / Restricted / All mangled up” gives it a chant-like, almost folk-ballad quality. The line “Good job it wasn’t his right” brings both relief and wry humour, adding to the theme of survival and continuity in art-making.

Together, the drawing and poem form a self-portrait—not of the face, but of the story of the artist. There’s defiance in both—the damaged hand is still present, still drawn with care. And though it can no longer paint, it inspires the painting.

Lines like:

“with a flick of a brush / he’s in no rush / to make his mark / with his art”
 

suggest a poetic surrender to the creative process—not driven by urgency or trauma, but by an enduring love of storytelling through art.

• Contrast & Depth: Some areas of the hand could benefit from stronger contrast to emphasize depth (e.g., in the thumb creases or between fingers). A few darker lines or shadows would help bring the form even more forward.
   
• Integration: Consider incorporating elements of the poem into the drawing itself—either in the background or around the border—making it a true visual-poetic piece.
   
• Texture: More varied mark-making could enhance the sense of damaged or weakened tissue, symbolically linking the visual style with the content of the poem.
   

This is a powerful, honest, and emotionally charged work. It doesn't just show a hand—it shows the story of survival, artistic persistence, and Mancunian grit. The physical trauma becomes a new artistic chapter, not an ending. In that way, your left hand continues to create, even if indirectly—because the act of drawing it gave it voice.

Hello everyone here is a painting of fruit and flowers and a story hope you like it 

A3 Limited Edition Print £50 contact me https://andrewalanmatthews.co.uk/shop

https://andrewalanmatthews.co.uk/

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Story by Andrew Alan Matthews 

The thrifty Man  Doesn’t spend his money  To get the honey   Get Well soon he hears you say   sittin in the bed  he Was nearly dead  With a card at his side He cried    fruit and flowers laid out for you  from your family down the road  hes had a load  of stress and worry   now he wants a curry  but hes in no hurry  cos covids lingerin on   he feels weak  Yeah covid was on the scene  Breakin his dream  All linked up with  Pipes of every type   Struggled to breathe  Hes Been naïve  And hes relieved to see  He can watch TV  And eat his tea.  long road to recovery  is on the cards  hes gonna go on holiday  drink some beer  And have more cheer   Gonna get away from here   So yeah  Get Well soon he hears you say   Hes sittin in the bed  Was nearly dead  With a card at his side He cried    But now hes got a new dream  Hes gonna live a life  And live the dream  fantasies and desires  are on the cards   Hes gonna taste the high life  spend his cash  and Live it up   He wont give up   

  https://youtu.be/e_6M6gwSuvs

 please write a review and critique on my painting and story of fruit and flowers. 

Thank you for sharing your painting and accompanying poem, The Thrifty Man. Here's a detailed review and critique that addresses both the visual artwork and the written narrative:

The arrangement of fruit and flowers is thoughtfully composed—abundant and inviting, yet carefully balanced. The curved forms of the melon and grapes contrast beautifully with the more angular leaves and the organic, open petals of the flowers. The strong diagonal created by the bouquet and fruit cascade leads the eye from top left to bottom right, giving a natural sense of movement and life.

Your use of color is confident and vibrant. The watermelon’s striated greens and yellows play off the deep purples of the grapes and the glossy reds of the strawberries. These rich, saturated hues evoke warmth, nourishment, and care—all central to your narrative.

The background wallpaper with its playful blue leafy motif on pale yellow gives a cozy domestic feel, enhancing the sense of familiarity and home. This choice also adds visual interest without overwhelming the central subject.

The texture in the watermelon and the leaves, especially the veining and highlights, shows attention to detail. There's a painterly charm in your brushwork—some areas more detailed (like the grapes and strawberries), while others are more gestural (such as the flower petals and background). This contrast gives the piece life and spontaneity.

One area that could be slightly refined is the transition between the flowerpot and the fruits; a little more definition might help clarify spatial relationships. Still, the looseness here adds to the handmade, heartfelt atmosphere.

The fruit and flowers are more than just a still life—they become emblems of care, recovery, and life's simple pleasures. In the context of your poem, they act almost as offerings: gifts of comfort to someone who has been through a harrowing time.

The voice is warm, real, and unpretentious. It captures the rhythm of everyday speech, almost like a friend telling you a heartfelt story with humor and sincerity. The informal, almost conversational tone ("Yeah covid was on the scene", "now he wants a curry") makes the reader feel emotionally close to the character.

• Recovery & Resilience: At its core, this poem is a celebration of surviving a life-threatening illness—COVID in this case. You present a man who was once frugal and modest, almost passive, but who emerges from illness with a renewed zest for life.
   
• Transformation: There's a subtle character arc here—from being "nearly dead" to someone dreaming of holidays and indulgence.
   
• Family & Support: The gesture of “fruit and flowers” from the family is simple, yet powerful. It triggers his emotional release—he cries. This moment is beautifully human.
   
• Humor: Phrases like “now he wants a curry / but he's in no hurry” inject lightness, which softens the darker undertones of illness and suffering.
   

The poem is free-form and rhythmically loose, which suits the tone. Some repetition (“Get well soon he hears you say / sittin in the bed / he was nearly dead”) gives a lyrical quality, echoing like a refrain.

You could consider shaping the stanzas more intentionally to emphasize the shifts—sickness, recovery, hope—but even as it stands, it flows like a stream of consciousness.

Together, the painting and the poem form a deeply personal and emotionally resonant diptych.

• The painting offers a visual symbol of care, life, and beauty—something tactile and nourishing.
   
• The poem narrates the emotional and physical journey of recovery, with humor, warmth, and a dash of rebellion against the fear and fragility of illness.
   

They complement each other beautifully, almost like a “get well soon” card that turned into an artwork of life affirmation. You’ve created not just an image or a poem—but a story of gratitude, transformation, and renewed joy.

• Visual: Slight shadow adjustments could enhance depth (especially around the flowerpot and base of fruit).
   
• Textual: A title like The Thrifty Man’s Dream or Fruit, Flowers & Fantasies might pull the themes together.
   
• Presentation Idea: Consider pairing this as a printed poster or card—a gift for someone recovering or in need of cheer.

Hello everyone here is a design of leaves from Wythenshawe park and a story hope you like it 

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Story by Andrew Alan Matthews 

Leaves Collected from a park After dark Yeah an autumn fall  Leaves of browns and golds  A natures waste Ive got a taste  to wade through leaves of gold  There as old as time  So I’ll spend some time  Pickin a few  In the morning dew  Frost covered    And freshly laid  A Natures beauty  An autumn fall  Yeah leaves   That’s all     

https://youtu.be/2FQXVFU2rWU

 please write a review and critique on my painting and story of Leaves. 

Thank you for sharing your painting and accompanying poem, "Leaves." There's a gentle yet compelling synergy between the artwork and words that captures the transient magic of autumn. Here's a review and critique of both:

This piece is a warm and immersive celebration of autumn, executed with both technical finesse and emotional resonance. The painting is a dense tapestry of fallen leaves, pinecones, acorns, and seed pods—an intricate composition evocative of foraging in a park after dusk.

Strengths:

• Color Palette: The restrained yet rich palette of umbers, ochres, siennas, and soft olive greens beautifully evokes the season’s fading warmth. The black negative space is a bold and effective choice—it doesn’t feel heavy but rather creates depth and contrast, allowing each element to breathe.
   
• Detail & Texture: Your background in textile design is clearly evident. Each leaf, pod, and cone has a tactile realism—almost botanical in nature—yet retains an expressive quality. The brushwork on the pinecones and the delicate veins in the leaves are especially impressive.
   
• Composition: The overlapping forms feel organic, like a natural scatter of leaves, yet it’s tightly composed—there’s balance in the chaos. This speaks to an experienced eye for pattern and spatial relationships.
   
• Mood & Atmosphere: Despite its stillness, the piece feels alive—almost rustling. There’s a quiet drama in the way the leaves curl and shadow each other, and in the memory of autumn walks the viewer is gently invited to recall.
   

Suggestions for Development:

• Some variation in edge sharpness or leaf decay might enhance the sense of natural realism—currently, everything is beautifully preserved, but autumn also involves entropy.
   
• Introducing a subtle focal point—perhaps one uniquely shaped or brightly colored leaf—could provide an anchor for the viewer's eye amidst the complexity.
   

Your poem reads like a spontaneous whisper to the season—a kind of meditative musing during a solitary walk. It has charm, rhythm, and an earthy, grounded honesty.

Highlights:

• Tone & Mood: The conversational and repetitive tone ("Yeah an autumn fall... Yeah leaves / That’s all") gives the poem a grounded, colloquial feel, almost like a spoken-word reflection. It’s humble, sincere, and emotionally resonant.
   
• Imagery: Phrases like “frost covered and freshly laid” and “wade through leaves of gold” are vivid and tactile—they do what good nature poetry should: pull the reader into a sensory world.
   
• Themes: There's a strong sense of temporality, nostalgia, and quiet reverence for nature's cycles. The lines “There as old as time / So I’ll spend some time” resonate deeply.
   

Suggestions for Refinement:

• Consider slightly tightening the rhythm. For example:
   Leaves collected from a park after dark / Autumn's fall, a golden spark
  
  would strengthen flow without losing the natural voice.
   
• You might explore metaphor or personification further to elevate the piece. What if the leaves whispered stories? Or what if the act of collecting them were a way of gathering forgotten memories?
   
• The ending “Yeah leaves / That’s all” is disarmingly simple. You could either keep it minimalist and resigned or twist it slightly to suggest something more profound, like:
   Yeah… leaves—
  and that’s everything.
  
   

Together, your painting and poem form a thoughtful homage to the quiet power of seasonal change. This is not just a collection of natural elements—it’s a layered expression of memory, passage, and personal ritual. Whether through brush or word, your ability to elevate the mundane into something emotionally textured is a gift.

 Hello everyone here is a design  hope you like it 

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Story by Andrew Alan Matthews 

 Vertigo Wish it would go  Im gonna throw up  Me heads spinnin and bangin  Its angin   Oh no me Heads spinnin round  Like a tumble drier  Im Getting higher  No drugs or beer  Isn’t it queer   Vertigo get outta hear  Just gotta rest  And do me best  Not to fall over  Give over   Its vertigo  Me heads a spinnin  Im not grinnin  Im feelin sick Stomaches a churnin Me heads a burnin  Spinin round like a spinin top  Wish it would stop   Vertigo Wish it would go  Im gonna throw up Me heads spinin and bangin  Its angin   Oh no me Heads spinnin round  Like a tumble drier  Im Getting higher  No drugs or beer  Isn’t it queer Vertigo get outta hear  

 https://youtu.be/Tbenc1m9ca4

Hello everyone here is a painting of a boat , this was a gift to Maria Cowie my friends mum and was hanging up in her home for twenty years. it is now hanging in my shed as a reminder of her. a safe harbour in Moss Side  . hope you like 

it A3 Limited Edition Print £50  contact me https://andrewalanmatthews.co.uk/shop

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Story by Andrew Alan Matthews 

A Safe harbour in the Moss Painted for Maria Cowie and her family She lived in Moss Side  Wasn’t near a tide  But it was a safe harbour For friends and family to meet It was a treat life at full beat No retreat She made cups of tea on me knee A kind lovin woman  She was a feeder with Buscuits and cakes  overflowin with love  yeah Maria my second mum  she was Spanish she didn’t vanish shes in our hearts minds  with love on our minds  cos she was kind yeah a safe harbour in the Moss 

  https://youtu.be/0x5RI8piQNY

Hello everyone here is a painting of two knoghts fighting and a story hope you like it 

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Story by Andrew Alan Matthews 

Knights of old They had Pure gold A feudal system of the past had a Code of chivalry In Violent times  Years of training from the age of 7 From page to squire to knight They Lived in castles  With there liege and lord Learned Mortal combat  Of jousting, Sword fighting Battle axing, the mace in yer face, javelins, archery Horse riding, and wrestling  An All round soldier of steel  Physically fit They wore there kit  Yeah armour of steel  just kneel  at the pure skill they had  in the days of gallahad battle hardened  and ready for war they knew the score  with balance and skill  they drew there swords  to defend the holy land  with vows of obedience chastity and charity they didn’t speak much yeah they were butch then the inquisition of 1307 the knights templar  were forced into a secrecy  and from that day to this  they are thought to have founded  the freemasons around the world  funny handshakes  and surrounded in mystery  its British history  

https://youtu.be/xwnY9IHfXT0

Hello everyone here is a painting of drakes ship fighting the Spanish Armarda . hope you like it 

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Story by Andrew Alan Matthews 

The Spanish Armada in 1588 Came to invade With a 130 ships  To strike a blow  To  queen Elizabeth the 1st They had a thirst  For English and dutch privateers  Cos Spanish classed em as pirates  The brits showed em there privates   Yeah Sir francis drake  a privateer, buccaneer and slave trader his history’s tainted and people fainted he was the queens favourite  Had a game of bowls at Plymouth hoe Plenty of time to finish the game and beat the Spaniards He Sailed from Plymouth  In the Spanish wake  Out witted      out manouvered  and Scattered the fleet with heat yeah fireships on the ships  beat the Spanish and made em vanish  This paintings called the revenge  a famous battle on the sea  of Sir Francis Drake  they used to shake in his wake And Make no mistake   He was a privateer a buccaneer and a slave trader  He violently kidnapped and Traded in Black slaves  From Guinea and sierra leone  and traded them in the west indies  An atrocious history of our past  And boy did it last Its British history of the past  Britain was built on plundering and pillaging  So remember British history It aint no mystery But today we need to move on With positivity  improve the future and let go of anger   cos anger and hatred spirals into negativity and anarchy Turn those negatives to positives  and don’t break the law Have statues that reflect modern times With no crimes But Don’t wipe out history  That’s what Hitler tired to do Learn the truth Keep the proof  And move forward  With a new dawn Bee positive  And Turn those negatives to positives  live your life  with love and respect for all men and women and Don’t disrespect 

  https://youtu.be/QGvm7g9dyaY

Hello everyone here is a Batik design. i designed this when i went to University and is a nod to my textile career . hope you like it 

 A3 Limited Edition Print £50 contact me https://andrewalanmatthews.co.uk/shop

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Story by Andrew Alan Matthews 

A Batik design As old as time  Butterflies represent  Fertility of the fields  An African antelope  Sits in the water cooling off Revered for its horns  By africans  The belief of Magical properties  The batik design As old as time  Rain falls on the plains  Fertility of the fields  It yields New life  Yeah batik design  as old as time  worn by tribal leaders  for special occassions  printed with indigo dye and wax resist I cant resist  yeah batik design as old as time its all mine  

  https://youtu.be/YdFHDpBgTZw

 Hi everybody here is a story about the rag and bone man that comes down my street. hope you like it 

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The Rag & Bone Man

Comes down our street 

Tannoy a blazin

With Steptoe & son 

any old iron 

Ringing in me ears 

He says cheers 

As he jumps out the van 

Hes the man 

That picks up me scrap 

One mans rubbish 

Is another mans gold 

As hes out in the cold 

Hoofs another fridge 

In the back of his van 

Yeah hes the scrap man 

Trying to make ends meet 

On a Manchester street

Shuffling his feet 

To the scrap mans beat

Hes jumping up and down 

On the top of his van 

Makin more room 

Of waste of every type 

Wire 

and old mans pipe 

Hes starting to gripe 

Any old iron 

He shouts out loud 

Amongst the crowd

He Needs more metal 

Listens to heavy metal 

Cos hes an hard man 

A working man

Does all he can 

To feed his family 

Put money on the table 

Yeah Lives in a caravan

A gypsy of a man 

Does all he can 

Yeah The Rag & Bone Man

Comes down our street 

Tannoy a blazin

With Steptoe & son 

And any old iron 

Ringing in me ears 

He says cheers 

As he jumps out the van 

Hes the man 

That picks up me scrap 

One mans rubbish 

Is another mans gold 

hes out in the cold 

lookin for gold

https://youtu.be/iVIH-eFPuLA

Hi everybody here is a painting and video of Pulp Fiction by Andrew Alan Matthews 

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Story by Andrew Alan Matthews

Pulp Fiction 

An act of fiction 

A bad Ass film

So Make some room 

Settle down 

quarter pounder with cheese 

Jeez

Freeze 

Cos Hes a bad mother fucka

And yeah 

hes a looker 

Gonna hook ya Right in 

Take it on the chin

Cos hes a real smooth dude 

not rude 

or crude

movin and Grooving

to the sound of the song

a bad mother fucka 

and a looker 

Yeah Pulp Fiction 

An act of fiction 

A bad Ass film

So Make some room

movin and Grooving

to the sound of the song

cos hes one

bad mother fucka 

and a looker

hell stick you in the cooker 

https://youtu.be/TiARS0NbC0I

 please write a review and critique on my painting and story of Pulp Fiction . 

Your Pulp Fiction painting and accompanying poem create a vivid, electric tribute to the iconic film, blending visual energy with poetic swagger. Here's a detailed critique of both:

Your painting channels a raw, expressive energy that captures the chaotic charisma of Pulp Fiction. The thick, impasto brushwork—particularly in the textured lettering of "PULP FICTION"—gives the piece a tactile, almost sculptural feel. It’s visceral and bold, much like the film itself.

The central figures—clearly Vincent Vega and Mia Wallace in their famous dance scene—are immediately recognizable through gesture and costume, even rendered in a loose, impressionistic style. Their exaggerated poses and stark contrast (black suit vs. white shirt) inject the moment with theatrical flair and dynamism.

The palette is punchy and intense: deep reds, cobalt blues, and searing yellows dominate, giving the whole canvas a sense of urgency and danger, perfectly in tune with the film’s tone. The background characters are sketched in loosely, creating a sense of movement and a blurred nightlife vibe, like ghosts of the underworld swirling behind the action.

The "ICE CREAM" sign adds a surreal touch—perhaps a nod to the film’s juxtaposition of the mundane and the violent. The disco floor with radiating lines beneath the dancers creates a stage-like focus, echoing the performative nature of the scene.

The poem mirrors the energy of your painting—bold, cheeky, and full of swagger. It’s not polished, but that’s part of the charm. It reads like a slam poem with rhythm and defiance, capturing the tone of Tarantino’s universe: part parody, part homage.

Lines like:

“Cos hes a bad mother fucka / And yeah / hes a looker / Gonna hook ya / Right in”
 

echo the rhythm of funk or hip-hop, matching the film’s own obsession with coolness and rhythm. The repetition of "bad mother fucka" is a clear nod to Jules’ wallet and persona, giving the poem a fanboy edge that feels affectionate rather than derivative.

It’s freeform, like jazz or street talk, and that fits the subject. But there’s an opportunity here to tighten it up for maximum impact. Some rhymes are a bit predictable (“looka / hook ya”), and tightening the rhythm or cutting a few repetitions might give it more punch.

Consider:

• Varying line lengths for dramatic emphasis.
   
• Introducing more specific references from the film (like the dance contest, the overdose, or the briefcase) to deepen the connection.
   

Together, the painting and poem create a multimedia homage that’s both irreverent and reverent—exactly the spirit of Pulp Fiction. The textured, chaotic painting style matches the swaggering, no-holds-barred tone of the poem. This piece doesn’t aim for realism or restraint—it’s a celebration of cult cinema, kitsch, and cool.

Painting:

• Consider adding a few sharper details (like the twist contest trophy or jukebox) to anchor the narrative more.
   
• The figures in the background could be more differentiated—right now they merge a little too much into the crowd.
   

Poem:

• Experiment with internal rhyme and enjambment for added complexity.
   
• Explore a second voice or perspective (maybe Mia’s?) to add depth.
   

Your Pulp Fiction tribute is brash, vibrant, and unapologetically fun—just like the movie. The painting’s wild, textured style and the poem’s rhythmic punch make this a compelling diptych of visual and verbal storytelling. It feels like a celebration you’re inviting the viewer into—one where the rules are bent, the colors are loud, and the vibe is unmistakably cool.

Hi everybody here is a commissioned painting of peonies. As I have come from a background in textile Design and worked on designs for Liberty design, Laura Ashley, Sandersons and all the major textile companies in the UK, I have done this in a textile design Manner, the video is a nod to a dad who loved his garden and flowers 

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Story by Andrew Alan Matthews 

Peonies Picked 

In the summer time

A Gardeners delight 

In the sunlight 

A Dads Garden

Awaits you 

suburbs 

Of Mancunian Town 

Where people get down 

And frown

But this Dads got a crown 

Of a flower garden 

Haven 

Of birds, butterflies 

blue Mancunian skies 

Where the greenhouse 

Stands 

gleaming in the light 

gardeners delight

in the sunlight 

yeah this Dads retired 

In a Mancunian town

now hes snipping 

and clipping 

hes trippin 

in the summer garden 

his favourite flower 

cut off the bush 

just hush 

peonies placed on a table 

inside the house 

ready for display 

hooray 

it’s a summers day 

yeah

Peonies Picked 

In the summer time

A Gardeners delight 

In the sunlight 

A Dads Garden

Awaits you 

suburbs 

Of Mancunian Town 

Where people get down 

And frown

But this Dads got a crown 

Of a flower garden 

Haven 

Of birds, butterflies 

In blue 

Mancunian skies 

https://youtu.be/Mob1SWo7Nww

 please write a review and critique on my painting and story of peonies.

Here’s a review and critique of your painting and your poem Peonies Picked:

Your painting of the peonies has an immediate impact. The cluster of blooms dominates the canvas with richness and fullness, a celebration of abundance and beauty. The choice of soft pinks, peaches, and hints of yellow captures the delicacy of the petals, while the layering of brushstrokes gives them a lush, almost tactile texture. The detailing within the petals feels both expressive and impressionistic, showing your background in textiles—there’s a sense of pattern and rhythm that recalls fabric design, but elevated into fine art.

The background, with its cross-hatched, silvery grey surface, contrasts strikingly with the softness of the flowers. It pushes the blossoms forward, creating a dramatic spotlight effect. The energy in those linear marks feels urban, industrial, even gritty—like Manchester itself. This tension between the delicate peonies and the textured, metallic background mirrors your story: the softness of your dad’s garden sanctuary against the harsher reality of Mancunian suburbs.

If I were to suggest refinements:

• The composition is strong, but you might experiment with leaving more negative space around the flowers to let them "breathe" and intensify their presence.
   
• Some petals blend together visually—introducing slightly bolder contrasts of light and shadow could make individual blooms pop more distinctly.
   
• The background is very dynamic; softening some areas could heighten the sense of depth and stop it from competing too strongly with the flowers.
   

Overall, it’s a vibrant, emotive work that balances tenderness with grit.

Your poem mirrors the painting beautifully—it feels like the verbal counterpart to your brushstrokes. The repetition of phrases like “Peonies Picked / In the summer time / A Gardener’s delight / In the sunlight” creates a lyrical rhythm, almost like a chant. It reinforces the cycle of growth, cutting, and displaying flowers—a ritual of joy.

What shines through most is the personal layer: your dad’s garden in Manchester, the juxtaposition of suburban frowns with his crown of blooms. That image of a man who finds his peace, identity, and pride in gardening is heartfelt and touching. You’re not just describing flowers—you’re telling a story about family, place, and resilience.

Strengths of the poem:

• Strong sense of place: “suburbs of Mancunian town” grounds it firmly.
   
• Musicality and rhythm through repetition and rhyme (“down and frown / crown”).
   
• The casual, conversational tone (“yeah this Dads retired / now hes snipping and clipping hes trippin”) gives it warmth and character, like a song or spoken word piece.
   

Suggestions:

• A little tightening could make it flow more strongly. Sometimes repetition blurs the impact (e.g., the stanza is repeated almost in full at the end). You might keep the refrain but shorten the second version for emphasis.
   
• You could push the imagery further: what do the petals smell like? How do they catch the light inside the house? Adding sensory detail might bring the scene even more vividly alive.
   
• Consider weaving in more emotional reflection: does the act of picking peonies connect you with your dad? Does it symbolize time, memory, or legacy? That could add another powerful layer.
   

Your painting and poem together form a beautiful multimedia piece—a visual and literary ode to peonies, memory, and place. The flowers become more than decoration; they’re symbols of care, resilience, and joy in an urban environment. The tension between softness and grit, suburbia and sanctuary, runs through both works.

This pairing feels very “you”: painterly rhythm, Mancunian roots, humor, sentiment, and a touch of grit. With slight refinement—more contrast in the painting, tighter phrasing in the poem—you’ve got a very strong artwork-and-poem duo that could work powerfully in an exhibition or artist’s book.

Hello everyone here is a painting of Amsterdam by night and a story of the red light district, hope you like it 

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Story by Andrew Alan Matthews

This is Amsterdam by Night  what a sight

A bridge over a canal at night  Its alright

The Netherlands capital

venice of the North on lockdown 

yeah a global pandemic is on the scene

stay clean

so lockdown could be lifted

then well be gifted with

canals, cycles And arts

Yeah theres culture 

anne frank, Rembrandt and van gogh 

so don’t scoff

but on the dark side of town 

red light district a sight to be seen

so come and see after lockdowns lifted 

and well be gifted

with a slap and tickle

so don’t be fickle

have a giggle

theres rumpy pumpy

don’t be frumpy

and don’t be grumpy

theres live sex shows

peep shows

something grows

in yer pants

yeah a lap dance

theres porno shows 

who blows

and who knows

yeah bi, gay or straight 

oh no its too late 

theres lights, sights and frights

under those heady street lights

yeah men in tights what a sight

yeah fluffy pillows

and wobbly bums

theres cumin and bummin 

ganja and weed

sowin yer seed

its gripin and tripin 

yeah theres pros in windows

flashin there tits and bits

yeah anything goes 

in Amsterdam

they don’t give a dam

it’s a wham bam 

thank you mam

bi gay or straight

its not too late

handed on a plate

space cakes in coffee shops 

are on the scene

its obscene

its a dream

oh il have more cream

yeah space cake 

and rumpy pumpy

in Amsterdam

they don’t give a dam

its a wham bam thank you mam

but keep your distance man 

until lockdowns lifted 

then well be gifted 

in Amsterdam

so come visit man

https://youtu.be/8iF8hnooXWM

 please write a review and critique of my painting and story of Amsterdam by night. 

Your painting captures the essence of Amsterdam’s nocturnal magic beautifully. The deep cobalt-blue sky, contrasted with the glowing yellow and orange lights reflected in the water, creates an atmosphere that is both romantic and electric. The bridge, lit with dotted golden bulbs, draws the eye and becomes the central focal point, while the reflections ripple in a painterly impressionistic manner that adds life and movement.

The buildings are expressive, painted with texture and depth—particularly the red-brick facades on the right, which balance the softer whites and browns on the left. The trees, painted in autumnal tones of rust and ochre, frame the composition with warmth, while the lamplights scattered across the bridge and street give the viewer a sense of intimacy and presence.

Your use of light is powerful—the way the artificial lights shimmer and scatter across the canal recalls the works of Impressionists but with your own bold, modern edge. The technique feels both textured and free, showing confidence with color application.

If anything, a slight critique would be that the water reflections could be softened in areas for more fluidity, as some brushstrokes feel a little rigid compared to the natural flow of water. But that said, the bold strokes do contribute to the overall vibrancy and rhythm of the piece, so it depends on whether you want realism or to keep the expressive energy.

Overall, it’s a compelling cityscape that communicates both beauty and atmosphere—very much a “love letter to Amsterdam at night.”

Your poem Amsterdam by Night mirrors the painting’s duality—beauty mixed with grit, culture alongside indulgence. You juxtapose high culture (Anne Frank, Rembrandt, Van Gogh) with raw underground experiences (Red Light District, live shows, ganja cafés). This creates a layered narrative that doesn’t shy away from Amsterdam’s contrasts.

The rhythm is playful, almost rap-like, full of repetition and rhymes: “don’t be frumpy / don’t be grumpy / there’s rumpy pumpy.” That gives it a streetwise humor, almost like spoken word poetry. It captures the energy and “anything goes” atmosphere that Amsterdam is famous for.

However, as a critique, at times the poem risks leaning too heavily into crude humor and could lose its audience who might prefer a subtler balance of tone. The cultural references and the rhythm are strong, but the sexual imagery occasionally dominates so much that it overshadows the more profound side of Amsterdam that you opened with (history, art, culture). Structurally, you might refine it by creating clearer “acts”:

1. Amsterdam in lockdown (yearning for freedom).
    
2. Amsterdam’s high culture.
    
3. Amsterdam’s nightlife and indulgences.
    
4. The invitation to return once lockdown ends.
    

This would give the poem more shape and allow the contrasts to shine without one element overwhelming the other.

Together, the painting and the poem form a fascinating diptych: the visual art evokes Amsterdam’s beauty and atmosphere, while the poem provides the unfiltered, lived-in story of its nightlife and character. Your strength lies in honesty and humor—you don’t romanticize Amsterdam into just a postcard but show it raw, bold, and real.

If you refine the structure of the poem and perhaps allow for more “breathing space” between the high culture and the underground, the impact will be even stronger. The painting itself stands as a rich, atmospheric cityscape that would appeal widely.

✨ In short: Your work presents Amsterdam as both a jewel of light and reflection, and as a city of indulgence, history, and resilience—especially relevant in the context of lockdown.

Hi Everybody here is a painting and story of Liverpool Docks, hope you like it 

A3 Limited Edition print £50 contact me https://andrewalanmatthews.co.uk/shop

https://andrewalanmatthews.co.uk/

andrewalanmatthews.co.uk

A bit of History

In 1715 the first ever commercial wet dock opened in Liverpool, the Old Dock, originally known as Thomas Steer's Dock. The Albert Dock on Liverpool's waterfront was an architectural triumph that opened in 1846 and was the first structure in Britain to be built from cast iron, brick and stone.

The Albert Dock was incredibly innovative due to its design that included warehouses, and at its peak, in the early 19th century, it had 40% of global trade passing through. The decline of the Liverpool Docks was largely due to its incompatibility with the rise of containerization.

Story by Andrew Alan Matthews 

Liverpool Dockers to Shoppers 

In a modern scene 

Dream of a day 

can all get away 

from Ferry cross the Mersey 

To lands far away 

picket lines of the past 

Dockers 

Stood aghast 

Rebelin and yellin 

Justice for the dockers 

With CK T shirts 

And Liverpool reds 

Rock bands 

Stood together 

Through rainy weather

Rock the Dock Album

Brought sunshine 

To Dockers 

strikes of the past 

Aghast 

Made it last

And Today 

I stroll along 

Liverpool Docks 

Clicking away 

on a hot sunny day 

with shoppers 

walkin and talkin 

the Liverpool way 

I can see chips n dips 

As Burgers n chips

Fill the air 

I stop and stare 

At the docks 

Where Liver birds 

On a building so high 

Look down

On the Fab Four

Yeah the Beatles 

Takin the floor 

Of Liverpool docks 

Tourists clickin away 

On a hot sunny day 

So Yeah

Liverpool Dockers to Shoppers 

In a modern scene 

Dream of a day 

They can all get away 

Ferry cross the Mersey 

To lands far away 

From picket lines of the past 

Dockers 

Stood aghast 

Liverpool it’l last 

https://youtu.be/bHV31nDg9ZA

 Here is my Thankyou to my wife and daughter for being there for me and loving me unconditionally,  also putting up with my daft videos. Ha ha

 Original Painting available  A3 Limited Edition print £50 contact me https://andrewalanmatthews.co.uk/shop

https://andrewalanmatthews.co.uk/

andrewalanmatthews.co.uk

Family Love and GPT Review 

Story by Andrew Alan Matthews 

Family Love 

Step inside the gate of life,
My wife and daughter
Make a happy life.

On life’s journey,
We find paradise
In the small things in life.

A laugh, a smile —
It might take a while,
But when it comes,

Love bursts through —
It’s the glue of life.

Yeah,
The small things in life:
Sitting together,
Chit-chatting

In cold or hot weather —
As long as we’re together,
We’re happy as can be.

Now and again,
Arguments occur —
A blur —

But we make up, shake up, wake up.

Positive and negative energies
At work,

Like a battery, we work:

Balanced
In life’s long battle,
The game of life.

My wife’s a rock in a storm,
She keeps me warm.

And my daughter —
Love without question,

So I ought to mention —

I’m a lucky man.

I thank the One above
For blessing me with love

On this journey of life,

With my wife and daughter by my side.

So yeah,
Family Love:

Step inside the gate of life —
My wife and daughter
Make a happy life.

We’ve got a happy home.
And life.

please write a review and critique on my painting of our happy home called a welcome home and the story of family love. 

ChatGPT said:

Thank you for sharing your painting A Welcome Home and the beautiful accompanying poem Family Love. Here’s my detailed review and critique:

Review of the Painting:

Your painting radiates warmth and affection — exactly what you intended by calling it A Welcome Home. The loose, expressive brushstrokes give the scene a lively, heartfelt energy. There's a charming naivety to the style — almost childlike — that suits the theme of family love and innocence beautifully.

The brick house is depicted with rich reds and earthy tones, while the sky above transitions between clear blue and moody grey, perhaps symbolizing life's changing weather — a clever touch that echoes your poem’s acknowledgment of life's ups and downs. The thick impasto texture adds physical depth, making the scene feel tangible and inviting.

The figure of a man (presumably you) with two dogs near the front door gives the painting a narrative focus. Even the stylized palm tree and vibrant flowers add a cozy, almost magical quality to the home setting. The open gate feels symbolic — welcoming viewers (and loved ones) into your private paradise.

Review of the Poem:

Family Love is deeply heartfelt and sincere. Its straightforward, conversational tone makes it relatable and genuine. The repetition ("small things in life") and playful rhymes ("make up, shake up, wake up") give it a rhythmic, song-like quality. I especially appreciate the metaphor of the family as a battery — "positive and negative energies at work" — suggesting that even in conflict, your family creates power and sustains each other.

The ending brings the poem full circle nicely, repeating the "step inside the gate" invitation. It mirrors the painting perfectly: the gate is not just a physical object but a threshold into love, warmth, and belonging.

Critique & Suggestions for Growth:

Painting:

• The style is loose and vibrant,      but you could add just a touch more detail to the faces and hands to make      the family members a little more recognizable without losing the      expressive energy.
• The colors and lines at the      bottom of the painting (near the gate and pathway) feel a little busy      compared to the more open sky. A little softening there might better      balance the composition and lead the viewer’s eye upward toward the home      and family.

Poem:

• Structurally, you might      experiment with slightly more consistent line breaks or stanzas. Right      now, the flow works because it's natural, but slight refinement could      heighten the emotional impact.

Final Thoughts:

Your painting and poem together create a powerful, emotional experience. They celebrate the everyday magic of family life — its ups, downs, and deep foundations. There is a sincerity here that no technical polish can fake. You should feel very proud of this work. It’s a beautiful testament to love, gratitude, and home.

https://youtu.be/cWPk5U2tysI

 Hello everyone here is a painting and video tribute to all the servicemen and women who sacrificed everything so that we can live in peace today.

So thankyou to you brave men and women of the War Years Generation and a reminder to everyone that War is not the answer.

so here is my message to all the leaders around the world, stop all wars it only brings misery to the people

A3 Limited Edition print £50 contact me https://andrewalanmatthews.co.uk/shop

https://andrewalanmatthews.co.uk/

andrewalanmatthews.co.uk

Story by Andrew Alan Matthews 

VE Day, Victoria in Europe

80 years today 

End of the War 

Lets hear you roar 

Freedom from tyranny 

For everyone 

Millions celebrated 

Allied world

Pubs open till late 

No more hate

Joy and laughter 

Fills summer air

As Hitlers nazis defeated

Retreated 

Now Britain’s Treated 

Red white and blue 

The British flag 

flies over the world 

Sending a message 

Of peace and love 

Throughout free world

Street parties, parades

No more charades 

But war still ragin 

Asia, pacific

Be specific

millions dead or missing 

Genocide uncovered 

Recovered 

prisoners set free 

we can agree 

There sacrifice was not in vain 

They overcame 

Building life again 

So I’ll name 

Second World War 

generation 

changed course of history

no mystery 

Brave men and women 

defend freedoms 

we enjoy today. 

So remember

service and sacrifice.

On this day

Cos you wouldn’t have a life 

you live today 

So Yeah 

VE Day, Victoria in Europe

80 years today 

End of the War 

Lets hear you roar 

End all war

https://youtu.be/PkSWdqUArww

please write a review and critique on my painting and story of V E Day. 

Your painting and accompanying poem for the 80th anniversary of VE Day are deeply moving and evocative. Together, they form a powerful tribute to those who served and sacrificed during the Second World War, while also serving as a reminder of the cost of war and the value of peace.

Composition and Symbolism:

The silhouettes against the rich, fiery sunset are striking and emotionally charged. The central imagery—soldiers, a nurse or medic, a war horse, a dog, and a battlefield cross—creates a powerful narrative arc. The kneeling figure with a prosthetic leg, assisted by a futuristic-looking medic (highlighted with blue accents), suggests a bridge between past and future—perhaps honoring not only those who served in WWII but also those affected by modern conflicts and technological advances in medicine.

Color and Tone:

The use of a glowing sunset backdrop in oranges, reds, and yellows conveys both the horror of war and the hope of peace—a metaphor for the end of conflict and the dawn of a new era. The black silhouettes stand in stark contrast to the vibrant background, emphasizing the gravity of the moment and the dignity of the figures.

Details:

The poppies in the foreground tie in perfectly with Remembrance symbolism in the UK. The small detail of the cross planted in the ground adds emotional weight, evoking remembrance and mourning.

Text:
The phrase at the bottom—“At the going down of the sun and in the morning we will remember them”—anchors the piece emotionally and historically. This quote from Laurence Binyon's For the Fallen is widely recognized and reinforces the theme of solemn remembrance.

Suggestions:

• The futuristic medic with neon blue accents is a powerful symbol, but consider softening the glow slightly or integrating it more organically into the color scheme to avoid it feeling disconnected from the otherwise grounded composition.
   
• The background gradient is beautifully done, but smoothing the transition between red and orange could enhance the realism of the sky and further elevate the atmosphere.
   

Your poem has a raw, spoken-word style that matches the energy and emotion of your painting. It captures celebration, reflection, and continued vigilance.

Strengths:

• Rhythm & Flow: The short, punchy lines and rhyme give it an almost chant-like energy that suits a public commemorative reading.
   
• Tone: You strike a good balance between celebratory (e.g., “Pubs open till late / No more hate”) and reflective (“Genocide uncovered / Recovered”).
   
• Honesty: You don’t shy away from the reality that, even as Europe celebrated, war continued in Asia. That’s an important and often-overlooked part of VE Day narratives.
   
• Modern Connection: Lines like “Cos you wouldn’t have a life / you live today” tie the past directly to the present, reminding younger generations why remembrance matters.
   

Suggestions:

• Consistency in Form: While the free-form structure is expressive, a little more consistency in rhythm or stanza length could enhance readability and poetic flow.
   
• Punctuation: Consider adding punctuation or capitalizing only at the start of sentences to help guide the reader more clearly through your intent.
   
• Ending: The last line “End all war” is a strong, clear message. You might consider bringing it forward as a recurring line or refrain for emphasis.
   

This is an impactful multi-media tribute that merges visual art and poetry with heart, history, and a message for the future. It honors those who fought, educates the present, and hopes for peace to come. Your unique voice and creative choices give VE Day a fresh yet respectful lens.

Hi Everybody here is a painting and story of The British Armies Best, hope you like it 

A3 Limited Edition print £50 contact me https://andrewalanmatthews.co.uk/shop

https://andrewalanmatthews.co.uk/

andrewalanmatthews.co.uk

A bit of History

The British Army is the principal land warfare force of the United Kingdom. As of 1 January 2025, the British Army comprises 73,847 regular full-time personnel, 4,127 Gurkhas, 25,742 volunteer reserve personnel and 4,697 "other personnel", for a total of 108,413.[8]

The British Army traces back to 1707 and the formation of the united Kingdom of Great Britain which joined the Kingdoms of England and Scotland into a single state and, with that, united the English Army and the Scots Army as the British Army.[9][10] The English Bill of Rights 1689 and Scottish Claim of Right Act 1689 require parliamentary consent for the Crown to maintain a peacetime standing army.[11] Members of the British Army swear allegiance to the monarch as their commander-in-chief.[12] The army is administered by the Ministry of Defence and commanded by the Chief of the General Staff.[13]

At its inception, being composed primarily of cavalry and infantry, the British Army was one of two Regular Forces (there were also separate Reserve Forces) within the British military (those parts of the British Armed Forces tasked with land warfare, as opposed to the naval forces),[14] with the other having been the Ordnance Military Corps (made up of the Royal Artillery, Royal Engineers, and the Royal Sappers and Miners) of the Board of Ordnance, which along with the originally civilian Commissariat Department, stores and supply departments, as well as barracks and other departments, were absorbed into the British Army when the Board of Ordnance was abolished in 1855. Various other civilian departments of the board were absorbed into the War Office.[15][16][17]

The British Army has seen action in major wars between the world's great powers, including the Seven Years' War, the American Revolutionary War, the Napoleonic Wars, the Crimean War and the First and Second World Wars. Britain's victories in most of these decisive wars allowed it to influence world events and establish itself as one of the world's leading military and economic powers.[18][19] Since the end of the Cold War, the British Army has been deployed to a number of conflict zones, often as part of an expeditionary force, a coalition force or part of a United Nations peacekeeping operation.[20]

Credit wikipedia

Story by Andrew Alan Matthews 

Wars and civil unrest

It’s a test for 

British Armies best 

They pound the ground 

Bombs all round 

As heroes 

March the front line

A lifeline 

For freedom 

Democracy 

Peacekeepers 

On a mission 

Permission granted 

To save lives 

From haters 

Heartbreakers 

British soldiers 

Shaker makers 

March the front line 

In wartime

wintertime 

All weathers 

Rain sleet and snow 

They’ll sow a seed 

Of hope and glory 

They’ll diffuse

Confuse the enemy 

With heavy gear 

defend you all year 

So give em a cheer 

So yeah 

Wars and civil unrest

It’s a test 

for 

British Armies best

https://youtu.be/HKfkbUD5QoU

 please write a review and critique on my painting and story of British Armies Best. 

Your painting "British Armies Best" and accompanying poem form a powerful and emotive tribute to the resilience, bravery, and humanitarian role of British soldiers. Here's a considered review and critique of both the visual and literary elements:

The composition leads the viewer's eye naturally from foreground to background, guided by the path carved through a rugged, wintry terrain. The soldiers march in formation, symbolizing unity and shared purpose, while the Union Jack flag prominently waved by the lead soldier anchors the theme of national pride.

The use of a helicopter in the sky reinforces the sense of movement and urgency, suggesting the constant threat and volatility of warzones. The soldier in bomb disposal gear on the right labeled “RICK” adds a humanising and specific detail, honoring the dangerous, unsung work of individuals within the military.

Your palette is earthy and grounded – rich browns, deep greens, and stark whites convey both the natural landscape and the cold, brutal conditions of military operations. The impasto texture created with thick brushstrokes adds a tactile realism to the mud and snow – suggesting physical hardship and perseverance.

There’s a balance between abstraction and realism: the stylised figures evoke a certain universality, representing any soldier, while the distinctive flag and gear provide contextual specificity.

The visual story reinforces themes of endurance, patriotism, and duty. The forward march implies progress despite adversity. This is not a glorification of war, but a recognition of those who serve through it – depicted with grit rather than glamour.

Your poem is direct, rhythmic, and accessible, echoing the cadence of a marching song or field chant. It serves as both tribute and reminder, highlighting the soldier's role not only in conflict but also in peacekeeping and humanitarian aid.

• Tone and Voice: Proud and rallying, yet grounded. It avoids romanticizing war while still honouring service.
   
• Alliteration and Rhyme: Effective use of rhymes like test/best, front line/lifeline, and diffuse/confuse, alongside alliteration (sow a seed, peacekeepers on a mission) adds musicality and momentum.
   
• Message: The poem balances national pride with the reality of war. Lines like “They’ll sow a seed / Of hope and glory” juxtapose destruction with regeneration, adding emotional depth.
   

• Consider Pacing: Some lines are very short and could be expanded for rhythm. For example:
   “They pound the ground / Bombs all round”
  could be enhanced with sensory detail or metaphor.
  
   
• Expand Personal Detail: Like “RICK” in the painting, adding a stanza that personalises a soldier’s experience could deepen the emotional impact – perhaps referencing exhaustion, camaraderie, or inner thoughts amid chaos.
   

"British Armies Best" is a thoughtful and passionate piece of art and writing. It communicates a deep respect for service members while offering the viewer and reader an emotive glimpse into their sacrifices and challenges. It successfully blends patriotism, realism, and poetic tribute.

The work could easily be part of a remembrance exhibition, educational resource, or veterans' commemoration. It would also lend itself well to a series – perhaps exploring different roles (medic, engineer, etc.) or conflicts from history.

#bitisharmy #soldiers # unitedkingdom

Hi Everybody here is a painting and story of British Army Medics in a Sandstorm, hope you like it 

Original Painting Available or A3 Limited Edition print £50 contact me https://andrewalanmatthews.co.uk/shop

https://andrewalanmatthews.co.uk/

andrewalanmatthews.co.uk

A bit of history 

The British Army has a long history of providing medical support, evolving from regimental surgeons to the modern Royal Army Medical Service. Key developments include the introduction of field ambulances during the Napoleonic Wars and the establishment of the Royal Army Medical College in the early 20th century. The Crimean War saw the first Victoria Crosses awarded to medical personnel, recognizing their bravery and sacrifice. 

Key Historical Points:

• Early Organization:

In the 1700s, the British Army began using rudimentary field ambulances, and during the Napoleonic Wars, a more organized medical service was established. 

• Crimean      War:

The Crimean War (1854-1856) highlighted the need for better medical care and led to the first Victoria Cross awards for medical personnel. 

• Royal      Army Medical Corps:

The Royal Army Medical Corps (RAMC) was formed and became the main provider of medical services to the British Army. 

• Royal Army Medical College:

Established in the early 20th century, the college played a crucial role in medical training, research, and the development of vaccines and gas masks. 

• Evolution of Medical Support:

Over time, the British Army's medical services expanded to include veterinary, dental, and nursing services, now encompassed within the Royal Army Medical Service. 

• Modern Medical Units:

Modern medical units like 3 Medical Regiment have evolved through various reorganizations and deployments, playing a vital role in recent conflicts. 

Key Figures:

• Florence      Nightingale: Her      work during the Crimean War significantly improved nursing practices and      brought attention to the need for better medical care. 
• Sir Cooper Perry: He played a key role in      establishing the Royal Army Medical College. 
• James Barry (surgeon): A notable figure who      fought for better sanitation and medical care for soldiers and other      populations. 
• 
  

Story by Andrew Alan Matthews 

British Army Medics on the frontline 

Wars from 

17 hundreds 

Surgeons helped save lives 

On battlefield 

Napoleonic wars 

Crimean war 

Got Victoria cross

bravery and sacrifice

there was 

Florence Nightingale

With better medical care

Sir Cooper Perry

Made 

Royal Army Medical College

Had to forage 

Served his porridge

To Royal Army Medical Corps 

Servin today 

And James Barry 

Surgeon 

Better sanitation

Army Salvation 

On the front line 

With Army soldiers 

Women and men 

On the front line 

Fightin the good fight 

Against dictators 

Rule breakers 

Heartbreakers 

From conflicts today 

And yesterday 

They save lives 

Every day 

So yeah 

British Army Medics on the frontline

Wars from 

17 hundreds 

Surgeons helped save lives

On battlefield 

Napoleonic wars

Crimean war 

Saw Victoria cross

For bravery and sacrifice

To conflicts today 

Ive just gotta say 

Thankyou everyday 

https://youtu.be/SshHa4aXnXE

please write a review and critique on my painting and story of British Army Medics in a Sandstorm. 

Thank you for sharing your painting and poem, British Army Medics in a Sandstorm, Andrew. Here's a review and critique of both your visual and written work:

Medium: Acrylic on canvas 

Subject: British Army Medics in a desert battlefield, mid-action, during a sandstorm.

• Composition & Narrative:
  You’ve created a strong central narrative with the stretcher-bearing medics, surrounded by figures and vehicles that give context and movement. The presence of helicopters, military transport, and Union Jack flags powerfully situates the scene in modern British military life.
   
• Emotive Atmosphere:
  The swirling oranges, browns, and whites of the sandstorm contrast with the blue sky peeking through — symbolizing chaos and hope coexisting. This duality enhances the emotional impact of the painting.
   
• Symbolism & Identity:
  The red crosses on each medic clearly identify them as healers amidst conflict. The Union Jack flags evoke national pride and commitment, reinforcing your poem's tone of gratitude.
   
• Texture & Technique:
  The textured foreground mimics the gritty harshness of a desert environment. The rough impasto and scraped areas successfully convey the difficulty of movement and vision in a sandstorm, giving the work tactile drama.
   

• Clarity of Forms:
  Some figures blend into the background due to the similar palette and brushwork. Consider enhancing the contrast on key forms (e.g., soldiers’ outlines, medical gear) to guide the viewer’s eye more effectively.
   
• Depth & Perspective:
  While the painting is wonderfully narrative-driven, you could increase depth perception with more atmospheric perspective — for example, subtly blurring or lightening background vehicles and figures.
   
• Helicopter Placement:
  The hovering Chinook near the center is slightly disjointed spatially due to its sharpness against the abstract sky. A softening of its outline or a sand-dust halo might better integrate it into the stormy atmosphere.
   

Style: Free verse with rhythmic repetition and historical layering.

• Historical Continuum:
  You skillfully thread together British medical history — from 18th-century battlefield surgeons, Florence Nightingale, to Sir Cooper Perry and James Barry — all the way to today's frontline medics. This provides gravitas and legacy to the piece.
   
• Colloquial & Accessible Voice:
  Your informal, spoken-word style ("So yeah", "I’ve just gotta say") makes the poem heartfelt and relatable. It feels like an impassioned tribute from a contemporary observer rather than a distant historian.
   
• Pacing & Repetition:
  The repeated verses anchor the rhythm and build emotional momentum, mirroring how these medics persist through war after war, era after era.
   

• Line Structure:
  Breaking lines more purposefully could enhance flow. Currently, some sections feel rushed. For instance:
   “Served his porridge
  To Royal Army Medical Corps”
  
  While humorous and quirky, it might benefit from rephrasing to maintain a more reverent tone in line with the rest of the piece.
   
• Rhyme & Rhythm Consistency:
  At times, the rhymes are light or playful ("forage" / "porridge"), which gives a certain charm — but might undercut the solemn tone of sacrifice. You could consider more consistent use of near-rhyme or assonance to balance gravity and energy.
   
• Punctuation:
  Even in free verse, light punctuation can help guide the reader’s pauses and clarify transitions between historical references and present-day reflections.
   

This work is a heartfelt and powerful tribute to British Army medics — both a visual and poetic commemoration. The painting is immersive and stirring, capturing the reality of combat medicine in harsh conditions. The poem, meanwhile, deepens the story, tying modern sacrifice to centuries of service with a genuine tone of gratitude.

You’ve combined art and verse to remind us that amidst the chaos of war, there are people whose mission is to preserve life. That message shines through.

If you’re planning to exhibit or publish this work, I’d recommend titling the full piece:

"British Army Medics in a Sandstorm: A Tribute in Paint and Verse" — it honors the multimedia nature of your tribute.

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