One of the most touching and personal elements running through Leigh Lambert's paintings is the recurring presence of his parents as the central child characters. They appear time and again, not as distant figures from the past, but as lively embodiments of the mischief, warmth, and everyday adventures that defined his family's stories.
The boy is instantly recognisable: a mop of blonde hair, that bright red jumper, and an irrepressible grin as he tears through the scene causing cheerful chaos. Whether he's scrawling “Stevie woz ere” on a wall in bold, defiant letters, racing a go-kart down a cobbled street, or leading a gang of mates in some harmless escapade, this little lad is Leigh's father, Steven, frozen in the golden moments of his own boyhood. The graffiti tag becomes a signature of sorts—a cheeky declaration that he was there, right in the thick of the fun, leaving his mark on the world (and on the brickwork).
Make It Nice and Shiny
Artwork Variations
Make It Nice and Shiny - Deluxe SketchMake It Nice and Shiny - Sketch
Then there's Susie, the little girl in the pink jumper, often standing close by with a knowing smile or joining in the games. She represents Leigh's mother, Susan, capturing her as the spirited companion who balanced the boy's wild energy with her own quiet sense of fun. Together they bring to life the sibling-like camaraderie of childhood, sharing sweets, dodging grown-ups, or simply wandering the familiar streets of post-war terraces and back lanes.
School's Out For Summer
Artwork Variations
School's Out For Summer - Deluxe CanvasSchool's Out For Summer - Canvas
School's Out For Summer - Paper
First Things First
Artwork Variations
First Things First - CanvasFirst Things First - Paper
First Things First - Sketch
Leigh weaves these characters into his nostalgic scenes so naturally that they feel like old friends to anyone who lingers over the paintings. The red jumper and pink one stand out against the muted, smoky tones of industrial backdrops—those terraced houses, foggy evenings, and corner shops—acting as little bursts of colour and personality. They remind us that behind every carefully observed detail of 1950s and 60s Britain lies something deeply intimate: real family memories, passed down and lovingly reimagined on canvas.
By placing his parents at the heart of so many works, Leigh doesn't just paint nostalgia; he honours the people who shaped him. The boy and girl aren't generic children at play—they're specific, treasured individuals whose laughter and adventures still echo through his art. It's this personal thread that gives the paintings such genuine warmth and makes viewers feel as though they've stepped into a private family album, one where the past is forever young, forever full of life, and forever marked by a simple, joyful tag on the wall: Stevie woz ere.