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Studio Secrets

Emma Talbot

Describe the things and images that you have around you in your studio and how they influence or inform your work.

My studio is pretty functional. There is storage for paintings, some sticks of furniture, and all the paraphernalia for painting; boxes of magazines, tools and boxes of paint tubes, jars with paintbrushes, containers of turps, linseed oil, a big bag of recycled glass jars, some MDF, canvas, plywood and assorted materials that I may or may not use in the future - like beads, false hair, tinsel, rubber, coloured tape. There's also a kettle, coffee, a heater, a mirror and a radio. 

I have lots of black and white photocopies from all kinds of magazines, including French, Italian, Russian and UK Vogue ranging from the 1950s to date, old architecture and design publications and some current images from the press. These are mostly in a big box, but some are lying around in piles -useful to inform particular paintings.

The images either act as a prompt for an idea I have had or are directly redrawn into the painting.

Describe your working methods and processes.

Putting together the paintings is a combination of making notational drawings of ideas, collecting images to feed into paintings, sifting through collected images, painting and spraying out, repainting, cancelling out, painting; until I reach a point where idea, image and materiality are working together.

Which single item in your studio is most important to your work?

It's not an item. It's a combination of brushes, Old Holland paint, the radio... and thought.

Which artist/s most influence your work and which recent show has been inspirational?

They don't directly influence my work, but I really liked the 'Archipeinture' show and Edwina Ashton's films at the Camden Arts Centre, and Fischli & Weiss's photographs of sausages and their small sculptures in 'Flowers and Questions'.

Is your studio a refuge or a place of torture?

I love being there, but when it isn't going right, I get really pissed off.