Canterbury Museums & Galleries Artist Opportunities

Creativity is fundamental in making The Beaney a vibrant and exciting place for everyone. Whenever possible we offer opportunities for artists to create, explore, engage, share and challenge using our collections and building as a resource for inspiration.
Current Artist Opportunities:

Beyond War – Visualising Peace, a selling show (10 November 2018 – 10 February 2019).

The Beaney House of Art & Knowledge, Canterbury, is inviting submissions for a selling show that takes as its starting point the end of WWI and the view of the future for its survivors.

2D artists and photographers are asked to respond to this theme or that of concepts of peace and memorials, as well as our view of these issues a hundred years later.

To download full details including information on the application process click here. To download an application form click here.

Deadline for applications: Midnight Tuesday 18th September.


East Kent Artists’ Open Houses

Now in its 17th year, EKOH has gone from strength to strength with more artists than ever, over 200 spread over 67 houses and studios. We are also delighted to include Margate, Cliftonville and Deal and hope to extend our range around Kent’s Creative Coast.

All houses are open weekends during the festival:
20th/21st, 27th/28th October & 3rd/4th November 2018 11am – 5pm (unless stated)

For more information about the event see:

If you are interested in participating in East Kent Artists’ Open Houses 2018, then please contact one of the area organiser for more information. Or alternatively download the entry forms below for all the information about taking part.

Deadline For Entries is 30th April

Please get in touch with Kate if you would like to be an artist exhibiting during East Kent Open Houses in the Deal Trail. Last year – our first year for Deal – we had 21 artists and some shared homes and some opened their studios

Kate Baker: Deal

6e Fête de l’estampe (Printmaking festival)

26 mai 2018, 6e Fête de l’estampe
Les inscriptions sont ouvertes !
date limite : 10 avril 2018 / deadline : April 10, 2018

Manifestampe – fédération nationale de l’estampe présente la sixième édition de la Fête de l’estampe
Manifestampe, the French printmakers’ federation, organises the 6th “Fête de l’estampe” (Printmaking festival)

Devenue au fil des années un succès, c’est un rendez-vous annuel à ne pas manquer. La Fête de l’estampe permet à un large public de découvrir dans une ambiance chaleureuse la richesse de ce moyen d’expression qui comprend la gravure, la lithographie, la sérigraphie ou encore les procédés numériques. Des expositions, des performances, des visites d’ateliers, stages, démonstrations, portes ouvertes, cours, conférences, ventes aux enchères, kakémonos géants, etc. sont organisés dans toute la France et même au-delà, en Europe, le jour de la Fête de l’estampe, autour du 26 mai 2018. La Fête de l’estampe 2017 a bénéficié du soutien du ministère de la Culture et de la Communication.

Over the years, the success of this festival has made it an unmissable event in the cultural calendar. La Fête de l’estampe provides a festive opportunity for many to discover this rich art that includes lithography, engraving, serigraphy, artists’ books and even digital prints. Exhibitions, outdoor studios, training sessions, open studios, conferences, performances, auctions, giant prints,… are organised in France and in many other countries in Europe on 26th May, 2018, for one day, or longer in some areas.

Où se déroule la Fête de l’estampe ? Partout en France… et même en Europe ! Dans des ateliers, dans des galeries d’art, dans la rue, dans des bibliothèques, des parcs et jardins, des musées, des écoles, en ville ou à la campagne, dans des lieux prestigieux ou insolites. Toutes les initiatives sont possibles.

Where? Anywhere : in artists’ studios, art galleries, in the street, in libraries, gardens, museums, schools, art schools … all initiatives are welcome.

Quand a lieu la Fête de l’estampe ? Le samedi 26 mai 2018, bien entendu. La plupart des événements durent plusieurs jours autour du 26 mai. Tout événement annoncé sera ouvert au public le 26 mai 2018.

When ? On Saturday, May 26th, 2018. Events may also be organised to last several days or weeks, providing the date of 26th May is included.

Qui participe ? La Fête de l’estampe est initiée par Manifestampe et est organisée par tous les acteurs de l’estampe : artistes plasticiens, graveurs, lithographes, sérigraphes, galeristes, musées, imprimeurs de l’estampe, collectionneurs d’estampes, écoles d’art, etc. Tous ont eu à cœur de mettre l’estampe en valeur auprès du public, et particulièrement ce jour-là

Who? La Fête de l’estampe is dedicated to anyone involved in printmaking: artists, engravers, lithographers, serigraphers, museums, printers, gallery owners, collectors, artists’ associations,…

ALL INKED UP Artist’s Book and Print Fair

Kent’s International Artist Book and Print Event
Friday 13 October- Thusday 9 November 2017
Location: Herbert Read Gallery, UCA Canterbury Time: 10:30 am- 18:00 pm

All Inked Up is an International Artist Book and Print Event spread over two venues, UCA, Canterbury and The Brewery Tap, Folkestone, comprising of an Artist Book and Print Fair, Symposium, Workshops and a final Exhibition of four internationally acclaimed artists at The Herbert Read Gallery UCA, Canterbury.
The event will build the audiences awareness of the Artist book as a primary medium and method in artistic practice to introducing the broad possibilities that the book format covers, from Illustrative narrative to sculptural forms through to digital, audio/video and performance work.
The Event will feature over 30 Internationally recognised Book Arts from Spain, South Korea, Japan, Holland, Germany, Portugal, Ireland as well as the U.K; the work of Staff and Students from European Universities, Spain, Norway, Ireland, Scotland and England as well as local Artistic community in the South East, Resort Studio, Open School East, Intra, DBA Print studios and Folkestone’s Creative Quarter.


The White Meal is a delicious Conceptual Artwork to celebrate the life and work of Honfleur composer Erik Satie
(who said that he only ate white food!)

7pm,Thursday 15th June at The Fleur de Lis, Sandwich.

7pm Thursday 15th June
At the Fleur de Lis,
Delf Street,
Sandwich, CT13 9BZ
3 Course Meal.
All White Food. Free Booklet.
A Performance by Erik Satie and Satie’s Sublime Music.

White Meal Flyer

Save the date…

Details of dates to add to your diaries for SEAS Winter OS and Ringwould Festive Fair later this year. We realise that it is still only mid-summer, but we are gauging interest in these seasonal events at this stage, with further information being sent out in September. Please email if you think you would like to be a part of Winter OS and/or the Ringwould Festive Fair, or have any further questions.

We also appreciate our Summer OS and Art Trail has not yet begun, so good luck to all. Let’s promote one another and mention to all our visitors about the fantastic range of artists, designers and crafters we have within seas.


Horsebridge A1 Open Exhibition

A1 Open Exhibition is the biggest show in town! Apply now!

The popular and anticipated A1 returns to The Horsebridge Galleries this summer!
Two galleries full of the most inspiring, eclectic, diverse artworks with one thing that unites them – their size. All artworks are A1 in size and with all mediums represented it is an exhibition not to be missed. To take part please contact the centre for an application form or email us at

Each picture has a £35.00 submission fee but no commission on sales. the exhibition runs for 3 weeks and we attract thousands of visitors.

It is a great time to have your work viewed and purchased. There are limited spaces so please apply quickly to avoid disappointment. Half the spaces have been taken in the first week, please get those forms in to us with your fee soon.


Seas – Open Studios/Art Trail – 2016 call to artists

SEAS Open Studios/Art Trail is being run almost concurrently with the Deal Festival of Music and Arts, during which artists are invited to welcome the public to view their work over three weekends starting on Saturday 25th June.

Just for your information, the third weekend 9&10 July is optional final weekend as we discussed and realise that both Wimbledon and Royal Marines bandstand event will be running also, which may reduce your visitors.

This year we are again incorporating additional events to our Open Studios (see section D and F) so please fill in appropriately.

We will again be hiring the Astor for the first two weekends for those artists who, for a variety of reasons, can’t open their studio… 25&26 June and 2&3 July

The artists who organise Open Studios operate in an unpaid and voluntary capacity. The smooth running of the event therefore relies on all the artists taking part in helping us.

I would urge you to decide if you would like to be involved, it can be at your own studios, it can be at the Astor theatre or it could be that members collaborate and share space at their residence/ studio. The different variations allow for visitors and appreciators of the local art scene a brief glimpse into the life of you the artist, and an opportunity to purchase directly from you.

The application form outlines the cost implications and I would prompt you to read carefully and then complete the form and send it back with the fee to myself (Mrs. Kate Baker) before the deadline of the 29/2/16. It is also imperative to renew membership with SEAS (through Jim Foreman) before the 29/2/16.

Download the SEAS Open Studios 2016 form by clicking here.

Ceramics and Music

The rare opportunity to create ceramics at a live music concert was a collaboration between the well established Deal Festival of Music and Arts, DFMA, and the SEAS (South East Artists) art group.

When Marilyn and myself moved to Deal in 2004, little did we realise that we were going to have a very busy creative time. After establishing our workshops, we joined with other artists to set up SEAS and began Open Studios events during the DFMA.

Earlier this year Marilyn asked Paul Edlin, the Music Director of the DFMA, how we could combine the music and the arts in the Festival as a specific event. The reply was that artists and dancers could participate together in a performance of piano music. The music chosen was Vingt Regards by Messiaen written in 1944 and Debussy’s Preludes Part 2 written in 1913; all solo piano works and outstanding pieces of 20 century repertoire.

In May 2015 a rehearsal was set to meet the pianist and the performing artists. Interestingly, Maria Immaculate Setiadi, the pianist from the Royal College of Music is researching a doctorate exploring piano performances with other arts. So myself, Penny Bearman, a painter, and Tony Thatcher, the choreographer, met at Paul Edlin’s stunning apartment in the old Deal Barracks/Hospital, a place of spacious magnificence fitting for a creative experience.

Before the rehearsal I needed to listen to the music and also plan on how a potter/sculptor, who usually creates alone, would work alongside a performing musician.

Listening to the music I realised how dynamic and vibrant yet also beautifully sublime and rhythmic it was. I began to use a notepad to pencil lines and shapes down the page to the fast flowing sounds. I felt I wanted to take these marks on a journey down or up a curving path. So I imagined a tall, rising, thrown shape as a surface that they could travel on. How sound, volume, tone, layers of rhythm could be seen, made me use texture and size rather than colour. I made two quite large multi thrown pots that began as slender columns ending in flared curved rims.

At the rehearsal we set up our kit, either side of a superb grand piano where Imma was warming up. Before starting there was a reporter from the local paper who wanted to collect our thoughts on the project. Penny Bearman and myself had said earlier how we felt nervous and were not sure what was going to happen. We were also concerned for the beautiful carpets even though they were covered by a canvas sheet. We discussed with the choreographer our ideas, and stressed that it was a first for us and a unique situation to collaborate. While we finished setting up Imma began to run through some of the music and I unwrapped the two large soft greenware pots.

Then Imma paused and asked how we were and how much time we could spare. I think she picked up on our reactions and had kept a quiet eye on me as she looked across from under the big piano lid. I think she sensed we were all feeling in a special space. So looking around the room which was now mostly clear of people she began the Debussy work with us virtually her sole audience.

The music lasted with one short break for nearly two hours. It was an extraordinary experience, the sound surrounded my space and the concentration on what I was doing with the surface of the clay became my sole reality. I had small trays of objects at hand, these I had earlier tested on flat sheets of clay. The tools were all sorts, small pieces of kiln shelves, silly parts of plastic, cubes, tubes, sprigs, stamps, all were a delight to press flat or angled into the soft clay.

How I felt I was responding to the character of the music varied. Descending loud rhythms were stamped down the long curving sides like tumbling bouncing boulders. Delicate flowing lines curved and swayed over the surfaces leaving pulsing waves across space. It was not just descriptive it was also very much reactive to the mood of the music when pressure of the hand became sudden and taut.

The later parts of the Messiaen, which particularly took me by surprise, had such an awesome feel, that I used a hard piece of heavy mahogany block to jab into the clay to the point I was worried I would puncture the clay walls. I was not the only one to have a near accident!! Imma played the last mammoth bars of this piece going repeatedly from the low keys right up to the furthest high keys that in the very last notes she disappeared from my view, only to reappear exhausted and smiling sliding off her stool at the far end of the piano.

The following silence was stunning after such music. Penny and I could only applaud wildly with admiration at her brilliance. The room then seemed to quietly fill with people and there was a lovely enthusiasm for what they saw which felt very satisfying.

Penny had covered three large canvases in amazing colours and shapes, a great achievement. My work surprised me, it had surfaces I would never had done without having this experience.

A few days later Paul Edlin rang and asked whether we would like to do this again at the live concert with a full audience. There was only one reply, in the positive. It was another opportunity to have a very special creative experience.

So on 28 June we performed again with a full audience except now we had the dancers from the Trinity Laban Conservatoire improvising in the second half. It was just as riveting as the rehearsal and once the music had begun we were totally unaware of the audience and the dancers. Interestingly the day before, I had read in the Guardian Review of a poet Michael Symmons Roberts, who had been commissioned to write poetry to the exact same pieces of Messiaen’s music. He was asked to respond to the music not to illustrate it. Likewise in this second

performance, struck by the emotional power of the music I was prepared to push the pot’s shape as far as I could, creating serrated and pierced shapes in the clay, not just working on the surface textures. I knew that Messiaen was expressing his Christian faith through his twenty contemplations of the infant Christ including the brutality of the crucifixion.

The audience’s response to the performance was electric and they were able to come up in the intervals to look closely at our work. Maybe a future event could have an non intrusive camera following the art action to watch the detail on the clay work. The art work from this collaboration is to be auctioned to help start a bursary for The Deal Festival of Music and Arts.

After the concert I was able to return to parts of the surfaces that were not complete as the speed of the changing music did not give time to finish it. These additions also consolidated the ceramic statement.

Reflecting on this experience it seems wide open to different ways of working. I look forward to doing more and seeing where it will lead me. It encouraged spontaneity, taking risks, and visualising 3D forms in my emotional response to music.

I hope next year to encourage more artists to step on to the stage and work directly in the atmosphere of live music. A very different experience to listening to a CD in your studio.

David C White

Applications are now open for SEAS Open Studios/Art Trail 2015

Applications are now open for SEAS Open Studios/Art Trail 2015.
Sat/Sun 27/28 June – Sat/Sun 4/5 July – Sat/Sun 11/12 July
Open Studios/Art Trail is being run concurrently with the Deal Festival of Music and Arts, during which artists are invited to welcome the public to view their work over three weekends starting on Saturday 27th June. Application is open to all SEAS members.
The artists who organise Open Studios operate in an unpaid and voluntary capacity. The smooth running of the event therefore relies on all the artists taking part in helping us.
Please click here to download an application form.
Deadline for applications is February 6th.
SEAS membership is £15 annually and the Open Studio fee is £70 for the summer event.