Finding space in a changing city: Janet Tod on artist studios, and the future of creativity
In 1978, artist Janet Tod made the move to London, drawn to the city’s vibrant art scene and the chance to work with Artlaw on a pioneering project – similar to a community law centre – giving free legal advice to artists. Her experience with lawyers Henry Lydiate & Adrian Barr-Smith not only shaped her career but also connected her to a group of forward-thinking lawyers, art administrators and artists dedicated to establishing DACS - an organisation that would soon champion artists' rights across the UK. Having been with DACS since day one and a practising artist for over 40 years, Tod reflects on the evolution of artist studios and the challenges facing artists today in our latest 40th-anniversary blog post.
When I first moved to London in the late ‘70s, the city was a very different place for artists. I came to work with Artlaw, a legal advice service for artists established by lawyer Henry Lydiate and a number of those lawyers and artists involved with Artlaw would eventually spearhead the creation of DACS. Many of my friends were also moving to London, and it felt like the right step for me as an artist.
At the same time, as DACS was being set up, I was waiting for a studio space through ACME. I had a space at home to make work, it was dark and small with no natural light and not conducive for painting – so printmaking was my focus at that time using the facilities at Sir John Cass Art College at Aldgate. In 1983, ACME offered me short-term space in an old pub overlooking Victoria Park in east London and a couple of years later a more permanent studio in Carpenters Road in Stratford - it was huge. I worked there alongside artists like Grayson Perry, Fiona Rae, and Rachel Whiteread. Now, I’m in my third studio space, still with ACME. The last move happened in 2000 when Carpenters Road was redeveloped for the Olympics. ACME rehoused us, which was a huge relief; not all artists have that kind of support when faced with redevelopment.
The evolving landscape of artist studios
Back in the early '80s, it wasn’t as hard to find a studio in London. The city had an abundance of vacant industrial buildings – many old wharves on the riverside – that were converted into studios for artists. There were also relatively fewer artists back then, and far fewer art students graduating each year in comparison with now.
Today, the situation is very different. Especially in London, so many of those converted-to studios buildings have been repurposed or demolished, replaced by expensive flats. And while new developments are supposed to offer space for the local communities, this provision is often the first thing to disappear when budgets tighten. What’s left are often inadequate spaces - windowless, lit by harsh fluorescent lights, and incredibly expensive. Even worse, many of these studios are temporary, meaning artists live with the constant fear of being displaced yet again. I know of one set of studios that are on 2year leases – so at the end of every two years, there is the uncertainty of renewal. For artists to thrive, they need affordable, long-term studios; otherwise, the arts will suffer.
The fight to save artist studios
Right now, ACME is in the midst of a campaign to save the Acme Propeller Factory building, which is where I have been based for the last 24 years. Their lease is due to end in 2028 and, by the end of 2025, they need to raise the funds to buy it. With figures like Sir Grayson Perry supporting the campaign, I hope they’ll reach their goal. Losing that space would be a massive blow, not just for myself and all the other artists, but for London as a cultural centre.
If ACME can’t secure the funds, there’s a real concern about where we’ll go next. They have over 1,300 artists registered on their waiting list, and there’s no guarantee we’ll have a place. The thought of possibly losing years of work if I can’t find another studio is a difficult one to process. I’m holding on with the hope that ACME can achieve its mission to buy the building and safeguard studio provision in London for the future.
For younger artists, I’d recommend searching online for studio groups in your area and within a reasonable travelling distance and getting on waiting lists early. Visiting open studios events can give you a feel for different spaces, and networking can help you find opportunities. It’s challenging out there, but there are ways to make it work.
Being a member of DACS has truly made a positive difference in my career. I've gained a much better understanding of copyright, and I've even earned some royalties. I would encourage all artists to join—membership is free, and it provides essential support to help you protect your work. DACS also offers guidance on copyright issues, especially if you're considering using another artist's work (remember, copyright lasts for 70 years after the creator's death). Plus, they help you earn from your work, no matter where you are in your career.
I moved to London at a time when London was affordable and there were numerous studio spaces. Over the years, I’ve worked in painting and printmaking, exhibiting widely and taken on commissions. I am fortunate to have been able to ‘follow my journey’ as an artist – which I could not have done without the space to create work - exhibiting and taking on commissions, but I can’t ignore the struggles artists face today. Without affordable spaces to work, how can they sustain their practices? And, it’s not just about having a physical space—it’s about creating the conditions where creativity can thrive, relationships are built and open studio events provide access to ones work by the local community as well as those who already have an interest in art. I hope the support for artists’ spaces continues to grow, so future generations can enjoy the same creative freedom I had when I first arrived.
At the end of the day, art is about connection—connecting people to ideas, emotions, and each other. Without spaces to work, we will lose that connection. And that’s a loss not just for artists, but for everyone.
Looking ahead: The future of artist spaces
As I look to the future, my main hope is that the Government will take our concerns seriously. Without proper studio space, artists can’t create, and without creation, there’s no cultural contribution. I’d love the Government to make it easier for artists to rent unused shops or empty spaces, especially in cities where studio availability is shrinking.
Find out more about how Acme’s Propeller Factory, the UK’s largest affordable artist studio building, is striving to secure its future. With its lease ending in December 2028, Acme needs support to raise funds and preserve this vital creative space.
Read more
- How DACS advocates for your rights
- How the Government can build a thriving future for artists and the visual arts.
