For three decades, South East Open Studios has thrown open doors, switched on studio lights, and invited the public into the heart of the creative process. What began 30 years ago as a simple idea — connecting artists directly with their communities — has grown into one of the region’s most anticipated cultural events, woven into the artistic identity of the South East.

Each year, painters, printmakers, sculptors, ceramicists, textile artists, photographers and makers of every kind transform private workspaces into welcoming, vibrant places of conversation and discovery.

As we celebrate this 30th anniversary, we wanted to look back as well as forward. We reached out to some of our longest-standing members — artists who have opened their doors time and again — and asked them to share their memories of South East Open Studios. Their reflections speak not only of exhibitions and sales, but of friendships formed, communities built, and the quiet magic of welcoming strangers who leave as supporters.

Through their words, we see how Open Studios has evolved — and how its spirit has remained constant.

Thirty years on, South East Open Studios is more than an event. It is a celebration of openness — of process, of place, and of people. And as we share these memories, we honour the artists who have shaped its history and continue to shape its future.

Jonathan Hateley:
I used to love doing open studios, contact with the public etc but it was always such a focus to build a body of work for it, for mixed results.  I can remember feeling the need to grab people off the streets to come and take a look as there were days when hardly anyone came… while on another occasion, I was a clue in a local treasure map, and loads of people came to tick it off their list.

I’d welcome folk coming to my place so that any work I happened to have at the time could be viewed, but more that it was a proper ‘open studio’ to show where I create my work, rather than primarily selling it.

All the same, when I was starting out, it was the first way I ever put my work on view to the public and the first time I sold anything.  It was in doing that which convinced me it was my new way forward.  I set up a mini sculpture trail in our tiny garden in Tonbridge and sat there in my studio (summerhouse) sculpting while people walked around.  I wanted to sell anything, including small resin sculptures …and homemade cards I’m afraid!

Louisa Crispin:
In response to Jonathan:
And I still have my tiny snail from those days. Look at you now!

Jonathan:
Bless you for purchasing it Louisa, it probably gave me so much needed confidence at the time that convinced me to carry on (I’m actually looking at a trail of bronze snails on our windowsill as I write!).

Louisa Crispin:
Open studios is about so much more than making money. I met so many supportive artists who invited me to join other opportunities and shared process ideas. I still connect with many of them.

I recently met a lady who used to visit me every year with her daughter – she still receives my newsletter and supports my exhibitions (and I know she’s not the only one).

I learned lots about gardening and wildlife and connected with neighbours.

In theory I was demonstrating but I rarely got to do any drawing… we talked about papers and pencils, framing and curation, as well as the subject matter.

A hugely valuable experience.

http://www.jonathanhateley.com

https://www.louisacrispinart.co.uk

I dipped my toe in the water a couple of times, first in 1997, then in 2002 before taking it up very consistently from 2004 till 2025 (with my only gap in 2024).

My first Open Studio must’ve been a bit chaotic, we’d not long been in the house and we were in the middle of having our kitchen refitted. I can’t recall how many people came but it seemed to be almost as successful as the solo exhibition and I managed to sell a number of originals and prints.

I tried for a third time in 2004 and something must’ve clicked as on this occasion. I must’ve got the formula right then, and this is the one I remember really enjoying. There were a number of return visitors and sales were good. Unlike showing in a gallery, I found the ability to control and design the display of work and the freedom I had of what to show and opening times etc. really appealing.

Having visitors come to have a look at my work and getting feedback became an increasingly rewarding and exciting element of my artistic practice. Occasional sales as well, was a thrilling bonus.

Most visitors over the years have been an absolute delight. Whether people come just to look or perhaps with more intention to purchase is irrelevant. I’m sure we’ve had visitors who are more interested in having a nosey at our house or a wander round our garden. We’ve definitely had the few who’ve come just for a drink or a chat. We had one visitor who, after gazing for several minutes outside at the front of our property, came in and then only spoke to our dogs.

Moving forward and becoming a consistently regular SEOS participant has been a very rewarding part of my Art Career. I have always loved opening my doors each year to art visitors and enjoyed meeting the many new people who have come to see my work, some to return again and to gradually become familiar friendly faces over the years.

https://www.nickhebditch.co.uk

My adventure with Open Studios began 29 years ago and over the next years I took part 10 times.

My first Open Studio experience was in 1998 in it’s second year of existence.

For me this Open Studio was really a first opportunity to be able to show the variety of art that I have been involved with. It was a great success.

I remember that at the time I never thought of any sales and even though, there were people who wanted to buy some of my artwork – I didn’t want to part with them.

Over the years my attitude towards this has changed and I was happy to let things go – to make space for new ideas.

This early Open Studio was definitely a starting point for me – to invite others into my world of art and creativity, as well as meeting other artist, seeing their work and exchange ideas.

Do visitors really talk to artists at exhibitions?
Over the years, l’ve seen it time and again: visitors walk through quietly, look at the work, then leave without speaking to the artist.
No questions. No reactions.
Maybe they’re worried they’ll say something “wrong.” Or perhaps they fear that talking will make them feel pressured to buy.

But at my recent South East Open Studios exhibition, something was different.
For three weeks, people approached me – asking about the stone, the tools, the process, or sharing how the work made them feel. It was genuine, open, and refreshing.

Was it because I was carving on-site? The summer atmosphere? I don’t know.
But those conversations reminded me that art isn’t just about the finished piece-it’s about the human connection it sparks.

So next time you visit an exhibition:
Speak up.

Ask the “wrong” question.

Share what moved you – or even what didn’t.
Because silence doesn’t create connection.

www.vartanmoskofian.com