Her subject matter is the destruction and regeneration of the landscape of Stockport. For around 50 years she has painted these delightfully obsessive works, depicting the mutation and evolution of that once industrial valley, now a commuter corridor. Helen’s paintings have been continuously researched through drawing on location, each taking many months of meticulous work. They are not critical, nor do they defend a cause or corner. They are a celebration of light, and show a deep appreciation of a unique landscape.

She said: “It’s 50 years since I sat by the side of the viaduct painting the mills, 40 years since the power station was untangled and demolished and 30 years since the motorway was completed.

“My home town, with its ever-changing topography is as inspiring today as it was when I first set out with a sketchbook.

“I’m delighted to have the opportunity to hold a retrospective exhibition of my work.”

Clapcott is distinctive for being one of the few modern artists working with tempera – an egg-based emulsion: a medium that predates oils and was used by the ‘Old Masters’ who had both the ability and the discipline to work with this exacting medium.

Councillor Frankie Singleton, the council’s cabinet member for culture, said: “Helen is one of the most exciting artists in the region today and it’s very fitting that her paintings of Stockport will be on display at the War Memorial Art Gallery for local people to enjoy.”

Despite being told she could earn more money in London, Clapcott once said she “didn’t particularly like” the capital and preferred Stockport.

To see our available works by Helen Clapcott, please CLICK HERE.

Helen Clapcott at Stockport War Memorial Art Gallery

Wainwright’s early years were marked by a growing awareness of his sexuality, which in the context of early 20th-century England, would have been challenging. Homosexuality was not only stigmatized but also criminalized during this period. Despite these societal pressures, Wainwright embraced his identity, finding solace and freedom in his art.

In his formative years as an artist, Wainwright explored various styles and subjects, but it was during his time studying at the Royal Academy of Arts in London that his unique voice began to emerge. Influenced by the avant-garde movements of the time, such as Cubism and Surrealism, Wainwright developed a distinctive approach characterized by bold colors, geometric forms, and dreamlike imagery.

Wainwright’s sexuality subtly informed his art, manifesting in themes of identity, desire and intimacy. While he did not openly address his homosexuality in his work, scholars have noted the homoerotic undertones present in many of his pieces. His paintings often depicted male figures in intimate settings, their bodies intertwined in sensual poses, hinting at a personal exploration of desire and longing.

Albert Wainwright – The Bathers

As Wainwright’s career progressed, his art became increasingly introspective, delving deeper into the complexities of human emotion and experience. His later works, marked by a sense of maturity and refinement, continued to explore themes of sexuality and identity but with a newfound sense of introspection and depth.

Despite facing challenges and prejudice throughout his life, Albert Wainwright’s art remains a testament to his resilience and courage in expressing his true self. Through his work, he not only challenged societal norms but also offered a glimpse into the rich and complex inner world of an artist grappling with his identity in a society that often sought to suppress it.

Early Years and Education:

Born in 1941 in Manchester, England, Geoffrey Key’s early interest in art led him to pursue formal training at the Manchester Regional College of Art. He later attended the Manchester College of Art, where he studied under notable artists such as Harry Rutherford. Key’s formative years were greatly influenced by the industrial landscape of Manchester, which often surfaces as a theme in his artwork.

Artistic Style and Approach:

With a style characterized by bold, geometric forms and vibrant colours, Key is known for his unique blend of abstraction and figurative elements, often depicting scenes from everyday life, landscapes, and human figures. His compositions often feature simplified shapes and forms, giving his work a sense of dynamism and energy. His artistic approach is deeply rooted in his personal experiences and observations of the world around him. He draws inspiration from his surroundings, memories, and emotions, infusing his artwork with a sense of depth and authenticity.

Geoffrey Key – Battle

Geoffrey’s Key Works:

Key’s oeuvre encompasses a wide range of mediums, including painting, sculpture, and printmaking. Some of his key works include:

Industrial Landscapes: Early works often depicted the industrial landscape of Manchester, capturing the stark beauty of factories, mills, and urban infrastructure.

Figurative Paintings: Key is celebrated for his figurative paintings, which often feature stylized human figures in dynamic poses. These works explore themes of movement, emotion, and human interaction.

Abstract Compositions: In addition to figurative works, Key has also created a series of abstract compositions characterized by bold colors, geometric shapes, and expressive brushwork.

Sculptures: Key has produced a number of sculptures in bronze and other materials, exploring themes of form, texture, and spatial relationships.

Legacy:

Geoffrey Key’s work has been widely exhibited and collected both in the UK and internationally. He is regarded as one of the leading contemporary artists in Britain, known for his distinctive style and profound artistic vision. Throughout his career, Key has remained committed to pushing the boundaries of artistic expression, continually evolving and experimenting with new techniques and ideas. His legacy continues to inspire and influence generations of artists around the world.

Colin believes that it is possible to paint ‘about’ a place but impossible to actually paint what you see in a moment. His drawings and paintings are executed rapidly relying on instinct and Colin’s own experience of the subject. The result is a representation of the personal experience of a place.

Colin’s work has depicted a range of environments including Manchester cityscapes, landscapes of the Lake District, scenes of Indian street markets and interiors of Liverpool Cathedral. All his projects relate to his personal exploration of how ‘experience’ can be conveyed in visual form.

In an artist statement, Colin Taylor wrote:

“How we perceive and represent individual experience of landscape today, has come a long way since Cezanne first articulated a visual proposal that ‘sensation’ had a direct role to play in creative output. That is not to deny the huge achievement of defining the problem of how one paints the experience of standing on the slopes of Mont St Victoire. Fortunately, for all of us today he didn’t find the solution… it’s still out there.”

Cézanne wrote: “Painting from nature is not copying the object, it is realizing one’s sensations.”

In Spring 2007, Taylor started visiting Thomas West’s ‘stations’ using them as a framework for his artistic exploration of the mountains themselves and his perception of them. Taylor worked on a series of ‘Cityscapes’ exploring the Manchester skyline viewed from some of the city’s tallest buildings. His paintings of Delhi capture the heat and chaos of the street markets.

A recent project began with a brief visit to Washington in fall 2021, as Covid restrictions were lifted. Taylor made sketches and took photos around the city then returned to his studio to produce work that made up a successful solo exhibition in Washington. The Washington Post said “the collected images became pictures that reveal something of their origins: Loose charcoal lines underlie the soft colours, as if the original drawings had only partially transmuted into paintings. Taylor’s geometric forms hint at universal archetypes, while the scrawled lines suggest motion. The figures in “Crowdscape: Wisconsin & M” could be ghosts, or simply people in a hurry. Or maybe it’s the painter who was in a rush, eager to capture an instant for all time.”

Crowdscape: Wisconsin & M – image courtesy of Calloway Art

Ralph Idris Steadman was born on 15th May 1936 in Wallasey, Cheshire.

A British artist best known for his satirical and provocative cartoons, he learned technical drawing when serving in the Royal Airforce (1954-1956). He sold his first cartoon to the Manchester Evening Chronicle in 1956 and then moved to London where he hoped to make a living as an artist.

After rejecting him many times, Punch magazine finally accepted one of his drawings and featured it on their front cover in 1961. As his work developed, some publications in London deemed it too provocative to print. Steadman felt the need to explore elsewhere in order to find outlets for his work. The USA fulfilled his need, and he was able to travel back and forth as required. Steadman worked as a political cartoonist with a variety of publications in the UK and in the USA throughout the late 1960s and ‘70s.

It was during one of his trips to the US, in 1970, that he met Hunter S Thompson, the American author and journalist with whom he collaborated on several projects. The most famous of these projects being Fear and Loathing in Las Vegas published in 1972, a story based on Thompson’s drug-induced experiences whilst travelling across America to Las Vegas with his lawyer in the 1960s.

Steadman’s illustrations and imagery were adapted for a 1998 film of the same name, starring Johnny Depp. Neither the novel nor the film received critical success when released but have since become cult classics.