Local Artist Lucy Manfredi’s evocative artwork mixes memory and imagination in a nostalgic bygone Manchester.
Lucy Manfredi has had a fascination and natural aptitude with art from an early age. She studied Fine Art Illustration with Animation at Manchester Metropolitan University before going on to complete a Masters in Sequential Illustration in Brighton.
She’s been namechecked as a rising star to watch by the legendary Hale Art Dealer, Bill Clark, well known for showcasing original works by LS Lowry, and, as of 2018, is an elected member of the Manchester Academy of Fine Arts.
Hi Lucy! It’s quite a busy time for you at the moment, isn’t it?
Yes, I’ve got two exhibitions coming up in September. The first one launches on the 25th at Hepplestone Fine Art in Wilmslow, and the second on the 28th in the Heskin gallery. I haven’t stopped recently – it’s been quite mad, to say the least.
Your portraits and character studies are very striking and have a different feel to your cityscapes. How do you approach them differently?
The characters come entirely from memory – memories of growing up in Manchester during the 80s and 90s. I was born in Woodford, Stockport, and studied in Manchester, so it was very much that era. I like to produce pieces that are about memories from that time, and I kind of see the people I paint living in the landscapes. It’s like building a picture of a time I remember which doesn’t really exist anymore, although you do still see people around like that.
They do have a very nostalgic feel – like characters who’ve stepped out of an old Coronation Street episode. How do you conjure these people from memory?
It’s mostly imagination, the majority just comes automatically now – the glasses, the features. I think I’ve got a bit of a signature going on. I’m also an animator, so I used to do drawn films, and a lot of the time I see these figures moving or animated in my head.
What kind of visual artists have inspired you and how does that come through in your work?
I try not to look at influences too much because you can get caught up in that. But everyone’s influenced by somebody – it’s impossible not to be. I love the early French impressionists, and Edward Hopper is probably one of my biggest influences. I just love that serenity in his work, those solitary figures, like in Nighthawks at the Diner, inspired me to paint so many café scenes. Also, Lowry is a big influence for his association with the urban environment and unusual characters.
You seem to have built quite an impressive body of work. How many pieces are you showing in your exhibition?
I’ve painted roughly 60 paintings for this exhibition – some on canvas, some on board, different sizes and subjects. I’ve got about 30 pieces still to finish before the end of September, though about 10 of those are nearly done.
How long does each piece typically take?
It’s really difficult to say because each piece is different. Sometimes I can work on something for a week, other times it takes six months. Sometimes I start something and it doesn’t work as well as I thought, so I have to put it down and go back weeks later. It’s almost like trying to hack through a forest to get to the other side. You can draw a picture and it looks right, but when you start to paint it, it’s different.
Your pieces have a cinematic, storytelling quality, like frames from an imaginary film. Is this something you have in mind when creating new pieces?
Exactly – that’s how I see my work, as frames. When I was producing films, I’d draw about 24 drawings per second, and each frame could be a picture. I see my paintings moving, even though they’re still. I can see how they would be animated, which is frustrating because I’ve got the equipment but just not the time.
The work seems to be growing in popularity. How do you think your work appeals to people?
Well, maybe it’s not everybody’s cup of tea, but I like to think there’s something for everyone. Some people may not like the figures or characters, but most tend to like the landscapes because they look quite dramatic on the wall and can suit all kinds of environments. They can go in any house – you don’t need an old house, they look good in modern houses too with a nice, simple frame.
Are there other visual art forms you’d like to try?
I really want to do film and animation, maybe for social media. I’m interested in 3D work too, though I’m not sure what material to use – I’m not into ceramics, so maybe resin or something like that. I’ve also considered graphic novels. I’m quite versatile – I like to turn my hand to all kinds of art.
Get in touch with Lucy and find out more about the upcoming exhibitions via Hepplestonefineart.com
