He lived for a time in Lancashire and in the upper Calder Valley area of Yorkshire but spent most of his adult life in Barry, in South Wales, where he was also deeply involved in politics and stood for parliament in the general election of 1923 representing the Labour Party.

[4] Although the centre of Church was heavily built up, with close-packed, terraced housing and many mills, foundries and chemical works, the Worralls lived in Dill Hall Lane which was surrounded by fields and pleasant views of countryside.

He attended art lessons in Manchester and created a series of watercolours of local scenes including Priestly Clough and Fern Gore, both in nearby Accrington, and Stoodley Pike in Yorkshire (see list of works, below).

Their residence in 1911 was a terraced house, typical of the type found in the industrialized south Wales valleys but their village, Nelson, was semi-rural and surrounded by views of distant coasts and mountains.

Worrall had visited this part of the country in 1910 to address meetings of socialists, illustrating his interest in left-wing politics, supporting at that time the Independent Labour Party.

The Worrall residence in Cardiff Road, gave a view over Swanbridge Bay and Sully Island which inspired many depictions of that seascape.

[17] During this time Worrall made visits back to Lancashire and painted scenes including the war memorial in Great Harwood[18] which had been unveiled in 1926.

He and his wife and elder children attended Workers Educational Association courses in Oxford which gave him opportunities to sketch scenes of the waterways and colleges, and visits to his two brothers in London and Glastonbury provided further potential for artistic work.

[19] After retirement from gas fitting, Worrall collected subscriptions for the Barry and District Co-operative and Industrial Society,[20] a group in which he was a committee member until 1948.

[21] In 1938 he and his wife travelled to the United States where he created a collection of scenes including around Niagara, the Potomac, Blue Ridge Mountains and the Californian and New Mexico deserts.

By this time his creative work had moved away from mostly industrial and urban scenes to generally picturesque rural landscapes and included settings in the Lake District, Cornwall and Somerset.