The annual celebration of Herts Open Studios, celebrating the artwork of local artists around Hertfordshire, has rolled around again. I enjoy my walk under the September sun on my way to some studios to see what I can discover.

The first two artists’ studio is hidden at the back of a private home at the bottom of the garden. As soon as I step in, I am inspired by the colourful paintings. It is packed with a rich variety of subjects from the warm autumnal watercolours of Heartwood Forest to the cool urban lines of London.

I enjoy chatting with one of the artists, Karin Friedli, who walks her dog regularly around the Hertfordshire countryside; shots of scarlet red poppies energise her rural landscapes and I can feel myself walking down the country path. I’m drawn to her work and feel that she has conveyed that tranquillity found in solitude celebrated by many poets in her impressionistic watercolours.

The other artist sharing the studio, John Plummer, has captured the mood of Verulamium park’s landscape; the artist has added an imaginative quality by applying his own inner colours onto the canvas, highlighting the many trees in yellow and purple. I love the daring use of such unexpected colour.

An oil-on-canvas of a Norfolk scene catches my eye. John tells me with a glint in his eye that it is his holiday home. Confident, rich strokes of bold colour fill the space. His fondness for the place comes across in the warm russets of the thatched roof and the vibrant greens that fill the pots outside.

My next stop is the Nude Tin Can Gallery. I’m greeted warmly by the curator and we chat about this year’s artists. The coastal landscapes and family photos of Stephanie Littlechild’s work are fascinating. The artist’s use of paper, fabric and appliqué adds texture and colour to her work. I almost feel as if I have intruded upon her private, treasured memories and am immersed in the role that memory plays within the creative expression of all artistic mediums; I feel as if I’m a long way from a stark coldness of much contemporary abstract art.

I move onto some large-scale seascapes, so vibrant and well defined that instead of merging into the sea, I am invigorated by the turquoise intensity. The artist explores a multitude of blue tones within her dramatic ink and acrylic compositions.

The curator tells me that when this gallery was first opened they offered a greater selection of cutting edge ‘off the wall’ pieces. However, they soon discovered that we locals were drawn to more figurative art, such as watercolours of seascapes and oil paintings of landscapes, that could be hung on walls at home. I am beginning to realize that showcasing art is not just about putting anything out there but about adapting a little to your audience.