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The Art of Seeing: Visions of Manchester

  • Writer: Richard Mather
    Richard Mather
  • 8 minutes ago
  • 1 min read

The Art of Seeing: Visions of Manchester


The seventeen works presented below originate from black-and-white photographs I captured across Greater Manchester many years ago. Through digital brushes and filters, these images have been reimagined and transformed, shifting from documentary records into expressive artworks. Each piece reflects both the architectural memory of place and the creative act of refashioning, where the familiar urban landscape is rendered anew in color, texture, and atmosphere.


Painting of a large cylindrical building with a domed roof, warmly lit against a dark urban backdrop; features vertical window slits and a glowing entrance with a lit window above the doorway.
Church of St Nicholas, Burnage – in the manner of James McNeill Whistler

Stylized illustration of a modern urban building with a cylindrical center, angular extensions, and a circular sun in the sky; rendered in warm tones of red, beige, blue, and yellow with geometric shapes and a foreground signboard.
Church of St Nicholas in Bauhaus style

Sepia-toned architectural rendering of a modernist building complex with horizontal lines, cantilevered sections, and a mix of rectangular and cylindrical forms; a tall spired structure with non-Latin script rises in the background, while the foreground features heavy support beams and windows, evoking a dramatic fusion of brutalist and modernist design.
City Tower, Piccadilly Plaza in the manner of Raphael

Stylized city scene featuring a boxy concrete building labeled “LANCASTRIAN HALL AND CENTRAL LIBRARY,” with a crest above the sign; a horse-drawn cart and a white van marked “Mistral” stand in front, all bathed in warm, golden tones evoking nostalgia and contrast between old and modern urban life.
Swinton Library and Lancastrian Hall (now abandoned) in Neo-Raphaelite style

Surreal painting of a Brutalist-style building labeled “LANCASTRIAN HALL AND CENTRAL LIBRARY,” appearing to melt and drip like wax; surrounding elements including a van and streetlamp also distort, set against a swirling, vibrant sky that enhances the dreamlike, decaying atmosphere.
Swinton Library and Lancastrian Hall (now abandoned) in surreal mode

Impressionistic painting of a cityscape with a river running through it, flanked by tall buildings with windows and balconies; a multi-arched bridge spans the river, and a cathedral with twin spires rises in the background. The scene is rendered in vibrant yellows, blues, and oranges, with textured brushstrokes and luminous reflections in the water.
River Irwell – separating the sister cities of Salford and Manchester (Salchester?) – in the manner of Pissarro

Surreal, painterly depiction of three tall modern high-rise buildings rendered in warm golden tones with textured brushwork; dramatic swirling clouds in yellow, orange, and blue fill the sky, while reflections in a body of water below enhance the dreamlike, atmospheric quality of the urban scene.
NV Buildings, Salford Quays (Media City), in the manner of Turner

Grainy monochromatic image of three illuminated high-rise buildings at night, featuring curved facades and vertical lines; set against a starry sky with reflections shimmering in a body of water in the foreground, creating a dramatic and atmospheric urban scene.
NV Buildings, Salford Quays (Media City) in ghostly film noir style

Abstract cityscape composed of high-rise buildings formed from bold geometric shapes—rectangles and squares outlined in black and filled with red, yellow, blue, black, and white; the composition emphasizes symmetry and repetition, with vertical and horizontal lines creating a grid-like structure reminiscent of De Stijl or Mondrian’s style.
Barclays Bank, Spinningfields, in the style of Mondrian

Abstract geometric artwork composed of overlapping rectangles, parallelograms, and triangles in shades of blue, gold, and gray; angular lines and gradients create a sense of depth and movement, evoking a three-dimensional architectural surface or tiled facade.
Low-angle side view of Beetham Tower (Hilton Hotel) in cubist style

Abstract geometric painting featuring a grid of multicolored squares and rectangles in shades of blue, orange, yellow, pink, and purple; diagonal yellow lines intersect the grid, adding movement, while a dark triangular shape on the left contrasts with the bright palette. The upper section transitions into fragmented, lighter tones, suggesting elevation or shifting perspective.
Low-angle side view of Beetham Tower (Hilton Hotel) in colourful mosaic mode

Low-angle view of a tall modern skyscraper with reflective glass panels glowing in golden sunlight; the building features vertical lines and a protruding section on the left, set against a partly cloudy sky that adds depth and contrast to the dramatic architectural scene.
Low-angle side view of Beetham Tower (Hilton Hotel) in ‘colour field style’, with a dash of Turner

Digitally stylized painting of a modern building with large block letters “N” and “R” on its facade, set beside a canal with a curved path and trees; the sky swirls with bright yellow stars in a style reminiscent of Van Gogh’s “Starry Night,” blending contemporary architecture with vivid post-impressionist textures and colors.
New Islington in the manner of Van Gogh

Sepia-toned sketch of a modern elliptical office building with a glass facade and evenly spaced windows; surrounded by streetlights, bare trees, and smaller structures, with industrial smokestacks emitting smoke in the background, creating a dramatic urban scene with vintage flair.
One Angel Square in ‘concept art’ style, using digital brushes to create a digital sketch. Notwithstanding its sci-fi appearance, One Angel Square is a real place
Painting of a grand classical building with a central clock tower showing 11:55, featuring columns, arches, and pediments; set against a vivid golden sky with an airplane flying to the left, blending historical architecture with surreal atmosphere and modern elements.
Stockport Town Hall in the manner of fourteenth-century Italian painter Simone Martini


Colorful abstract painting of a cityscape with geometric buildings—cylindrical, angular, and rectangular—reflected in water; composed of vibrant mosaic-like shapes in blue, red, yellow, orange, and green, creating a dynamic, visually rich urban composition.
The Lowry, Salford Quays, in colourful cubist style

Digitally stylized waterfront cityscape with modern buildings, including a cylindrical tower and rectangular structures, reflected in vibrant, multicolored water; rendered in an Impressionist-inspired style with swirling pastel skies and painterly textures that evoke a dreamlike, atmospheric mood.
The Lowry, Salford Quays, in the manner of Monet

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