Brockley Open Studios has launched a series of curated exhibitions to present new work by contemporary Brockley artists. All are open to the public.
If you are interested in applying for any of our art events look at our opportunities section or our Instagram for our latest open calls and application info, or contact us.
BROCKLEY OPEN STUDIOS 2026
We are delighted to present two exhibitions at our 2026 open studios weekend:
Realms & Realities
ELEANOR HEMSLEY / SONA KOLOYAN / TILLY MCLEAN
10 am - 5pm 1-3 July
10 am - 6pm 4 & 5 July
Private View / BOS launch party Thursday 2 July 7.30-9pm - all welcome
📍Pop-Up Shop, Brockley Cross, SE4 2AA
Eleanor, Sona and Tilly create pieces that examine the realities in which we live and the potential to exceed them. They explore themes of fabricated landscapes in response to their environments, in both physical and societal worlds
Eleanor's expansive abstract paintings look outward to the natural world, drawing deep inspiration from the volcanic, earthy landscapes of Lanzarote. Sona creates pen illustrations depicting scenes and characters created alongside her own original music. Tilly uses sculpture to explore ideas of society and the individual's space within it, making absurdist forms of creatures and the body.
These artists invite you to consider how we can create realms of our own through art and life, and the benefits this brings us.
Eleanor Hemsley
Sona Koloyan
Tilly McLean
Held, THEN…
BOS x FABRIQ GALLERY - CHRISTOPHER FAIRBAIRN
We are excited to announce that FABRIQ Gallery and Brockley Open Studios have collaborated again this year to present a new collection of prints by artist Christopher Fairbairn.
📍FABRIQ Gallery, 197 Brockley Road, SE4 2RS
10 am - 6 pm Saturday 4 July and Sunday 5 July
11 am - 3 pm Saturday 13 and Sunday 14 July or by appointment
‘I make screen prints of objects that are usually thrown away: foil ashtrays, lottery tickets, fast-food wrappers. I’m interested in how these things are made and how they feel — the shine and creases of foil, the thinness of ticket paper, the heavy, bright inks used to grab attention.
Before printing, I spend time looking closely at their surfaces: the folds, stains, and wear that show how they’ve been handled. Screen printing lets me rebuild these details slowly, layer by layer, turning something temporary into something more fixed and considered.
By placing these disposable items in the gallery, I want viewers to look again at materials they normally ignore. The work isn’t about nostalgia or judgement. It’s about paying attention — to surface, to touch, and to the physical traces left behind in everyday objects.’
