CULTURE EDITION
L ike many great ideas, Cambridge Open Studios began in a pub. When founder Julia Ball purchased the old Greene King establishment on Beche Road in 1971, she found a space to showcase her own work and soon opened her doors to the public. By inspiring other artists to do the same, Julia kickstarted a movement that led to a city-wide event still known and loved across the city today. Fast-forward three years to 1974, and other artists including Christopher Castle and Christine Fox were persuaded to open their doors, officially marking the start of
Cambridge Open Studios (COS). “A key consideration for any artist is how to get your artwork in front of an audience,” shares Gabriella del Valle, the chair of the management team behind this year’s event. “The COS approach was founded on the belief that the barriers between the public and art should be removed so that art is accessible to everybody.” By artists, for everyone Long gone are the days of 1974, when the festival was advertised via word of mouth and handwritten posters planted across the city to showcase artists opening their studios for a couple of weekends in July. Now, COS comprises over 500 members with an extensive calendar of events and workshops, a printed map distributed throughout the city and even an app that visitors can download to plan their visits. Nevertheless, the grassroots spirit that spawned the initiative prevails. Despite the scale of the event, COS remains run by a small group of dedicated volunteers, all of whom are artists themselves. “Together we manage the planning process to ensure the July Open Studios festival is a success. I’d like to thank each and every volunteer for their hard work and dedication!” Gabriella joined the team herself after encountering the event as a visitor several years ago, which subsequently inspired her to take the plunge and exhibit her own jewellery designs. Just a few of the many talented and driven individuals joining her include Richard Bray, who both draws and works with wood, while also acting as COS’s community liaison champion to encourage more young members to get on board. Meanwhile, company secretary Iain Smith has been a member since 2012 and volunteers as COS secretary when he isn’t creating beautiful kiln-fused glass. Digital illustrator Rosanna Hall supports the event’s IT needs, while illustrator Alison Hullyer is the brains behind the COS guide. Elsewhere, Dr Anna Dempster, a fellow at the University of
A BROAD PALETTE An unfinished piece by COS member and plein air painter Sarah Allbrook
Cambridge’s Wolfson College, oversees the event’s countless partnerships and collaborations throughout a wide range of regional galleries, museums, arts and educational institutes. For the city Dedicated figures such as this have steered the event through difficult times, keeping its creative spirit alive over the past 50 years. As Gabriella says: “We have seen a huge number of changes during the past five decades, including new technologies, financial challenges – not to mention a global pandemic.” Even during lockdown years, the COS team pivoted to window displays, ensuring that the benefits of art and creativity were still accessible to all. “This is a testament to COS’s ongoing ability to evolve and adapt, ensuring we never lose sight of our mission: to ensure
Plein air painter Sarah is often spotted capturing live scenes around Cambridge. As the newest member of the team, you’ll also find her volunteering her time as the COS social secretary when she’s not flexing her skills working with oil paints. Sarah Allbrook, Painter ARTIST SNAPSHOT
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