THERE will be more than 1,000 artists and makers show­cas­ing their work dur­ing Oxford­shire Artweeks, which returns for three weeks in May, from Sat­urday, May 2 to Monday, May 25.

Work­ing with paint, clay, tex­tiles, fab­ric, glass, metal and more, the artists range from world-class paint­ers, sculptors, ceram­icists, pho­to­graph­ers and sil­ver­smiths to the tal­en­ted mem­bers of enthu­si­astic com­munity groups.

Thirty of the ven­ues are within 10 miles of Hen­ley, where the work of more than 100 artists will be on dis­play. They will be show­cas­ing their tal­ents, explain­ing their mater­i­als and, often, demon­strat­ing their meth­ods.

Venue No 97 is the Harpsden Road stu­dio of Hen­ley artist Belinda Mil­lar, where bright pink peeps out in her express­ive immers­ive land­scapes that burst with the blues, greens and yel­lows of the land­scape and prom­ise a sunny day whatever the weather.

Venue No 99 is a thatched barn adja­cent to the 15th cen­tury Crown Inn at Pishill. The five artists there include Marie Robin­son, whose works con­tain the exuber­ant col­our of con­tem­por­ary real­ism, and pho­to­grapher Rachel Wal­lace, who will present an intriguing series of work as she “dis­rupts” pho­to­graphy with other media to illus­trate and engage with the nat­ural world.

Venue No 87, the Busby K Stu­dio and Gal­lery in Nuf­field, will show paint­ings by Car­oline Busby which cap­ture place, light and per­spect­ive as well as how a famil­iar land­scape can feel com­pletely new when seen from an unex­pec­ted angle. It will also fea­ture the work of award-win­ning pho­to­grapher Chris­topher Har­rison, as he show­cases the extraordin­ary in the ordin­ary, dic­tated by the rhythm of the sea­sons, and cap­tur­ing the land­scape when the con­di­tions align per­fectly to reveal its hid­den beauty. This often requires patience, with numer­ous vis­its to the same loc­a­tions, he explains, as he chases the light that trans­forms famil­iar views into art.

Nearby, at, the Grade II lis­ted barn at Bra­zi­ers Park, Jac­queline Bur­rage’s express­ive and spon­tan­eous land­scape paint­ings are primar­ily a cel­eb­ra­tion of col­our and the effect that it has on our mood as she records the sen­sa­tions she exper­i­ences and the music in her mind as she walks and rides in the coun­tryside.

Wat­ling­ton is a hot­bed of Artweeks ven­ues with dozens of artists exhib­it­ing and demon­strat­ing along the high street. There will be stitched por­trait­ure, glass art, an explor­a­tion into AI art, and del­ic­ate jew­ellery with semi­pre­cious stones and pearls and ceramic wall tiles that evoke the feel­ing of lying in the sun on the French Rivi­era.

There is more pho­to­graphy here, as Wat­ling­ton Pho­to­graph­ers Col­lect­ive cel­eb­rate their fifth anniversary this Artweeks. This year, seven pho­to­graph­ers are exhib­it­ing a range of work from black and white land­scape pho­to­graphy to images made without a cam­era yet using pho­to­graphic pro­cesses and mater­i­als. The images include bold Prus­sian Blue cyan­o­type images of musical instru­ments by Mark Batch­elor, a series of exper­i­mental and explor­at­ive work by Maria Mademyr focused on sun­flowers made with cam­era-less pho­to­graphic pro­cesses, and evoc­at­ive mono­chrome land­scapes and por­traits from South­ern Africa and Europe by Andrew Kerr, includ­ing his prize-win­ning entry to Black and White Pho­to­grapher of the Year 2025.

For inform­a­tion, includ­ing a fest­ival map, a list of stu­dios and exhib­i­tions, an A to Z of artists and more, visit www.artweeks.org