Pulp: Maxime Imbert’s visual archive of London’s lockdown spirit

The COVID-19 pandemic induced a global state of suspended animation, fundamentally altering the fabric of urban life. In London, a metropolis characterized by its relentless, frenetic pace, the onset of national lockdowns in early 2020 triggered an unprecedented silence. As the transport network stalled and the bustling streets of the capital emptied, the city underwent a metamorphosis. This period of enforced seclusion—marked by the absence of aerial traffic, the closure of retail and hospitality sectors, and a shift toward digital social interaction—served as the backdrop for a significant artistic exploration by French photographer Maxime Imbert. His newly published photo book, Pulp, captures a visceral, intimate history of London during this period of introspection.

The Context of a City in Flux

The pandemic hit at a pivotal juncture for Imbert, who had spent a decade in London following his formative years at Central Saint Martins. Like many residents, he found himself navigating a period of personal transition, contemplating a relocation to Paris just as the world began to close its borders. As the city retreated into its domestic spheres, Imbert opted to remain, choosing to document the shifting reality of the place he had called home for ten years.

Chronologically, the project began in the gaps between the UK’s tiered lockdown restrictions. From the initial lockdown in March 2020 through the subsequent reopening phases, Imbert navigated the complex landscape of social distancing to gain access to the private, internal worlds of his subjects. While official government guidelines prioritized the suppression of the virus through physical isolation, Imbert’s work sought to bridge the gap between human beings who had been effectively walled off from one another.

Data and Social Dynamics of the Lockdown Era

Sociological data from the Office for National Statistics (ONS) during 2020 and 2021 highlighted a stark decline in the mental well-being of urban residents, citing "loneliness" and "lack of social interaction" as primary stressors. The reliance on video-conferencing platforms like Zoom and House Party became the primary conduit for human connection, yet these digital mediums often failed to capture the nuances of physical presence.

Imbert’s approach stood in contrast to this digital pivot. By entering the homes of individuals, siblings, friends, and roommates, he created a physical space for interaction. This process was inherently performative; rather than documenting the "sweatpants aesthetic" that defined the global lockdown fashion narrative, Imbert’s subjects opted for theatricality. The subjects in Pulp appear in avant-garde attire—neon bikinis, creative fetish wear, and high-fashion accessories—suggesting a collective resistance to the mundanity of domestic confinement.

Artistic Methodology and Reciprocity

The creation of Pulp was defined by an organic, reciprocal process. Imbert characterizes the photo sessions as "therapeutic," noting that the act of taking a portrait was secondary to the interpersonal exchange. Whether the subjects were long-term acquaintances or new faces introduced by casting directors, the sessions provided a rare outlet for creative expression during a time when creative industries had largely shuttered.

One poignant example of this connection is Imbert’s experience with a subject named Dominic. Their sessions, which involved guitar-playing and discussions of personal loss, underscore the deeper function of the project. While some of these connections remained circumstantial—often drifting apart as the city resumed its normal pace—they served as essential anchors during a period of extreme social instability. This documentation of ephemeral relationships highlights the transient nature of life in a global city, even when the city itself seemed to have stopped moving.

The Aesthetics of Visibility in Hibernation

From a critical perspective, the imagery presented in Pulp challenges the perception of the "lockdown subject." During the pandemic, the media frequently portrayed the public as either exhausted, fearful, or resigned to a state of domestic leisure. Imbert’s work offers a counter-narrative: defiance through style. By choosing to dress in striking, often outlandish outfits, his subjects maintained a sense of identity that was not contingent on the external validation of public spaces or social events.

This "visibility in hibernation" served as a reclamation of the body. For the individuals captured, the camera lens acted as a witness to their resilience. Imbert suggests that his project offered an opportunity to be held aloft in the gaze of a future audience, bridging the gap between the isolation of the present and the eventual reopening of society.

Broader Implications and Legacy

The release of Pulp acts as both a historical document and a personal testament to the resilience of London’s creative community. The book, published by Alep, serves as a record of a specific moment in time when the usual social barriers of a global city were momentarily dismantled.

Industry analysts observing the photography sector have noted an uptick in interest regarding "pandemic archives." As the immediate shock of 2020 fades into historical memory, works like Pulp allow for a more nuanced examination of how individuals maintained their sense of self when denied the usual markers of public life. For Imbert, the project was a "love letter" to London—a way of reconciling his decision to eventually leave the city with the profound, intimate connections he forged during his final years there.

The publication arrives at a time when the long-term impacts of the pandemic on urban social structures are still being analyzed. While the city has returned to its frenetic pace, the lessons of the lockdown—the importance of community, the value of direct human interaction, and the performative nature of our daily lives—remain relevant.

Logistics and Availability

The official launch of Pulp is scheduled for Friday, September 18, 2026, at Claire de Rouen, located at 11A Kingsland Road, London, E2 8AA. The event, running from 6:00 PM to 8:30 PM, will feature a collection of the prints from the book, providing the public with an opportunity to engage with the physical manifestations of the project.

The book is currently available for order through the Alep publishing website. By archiving these moments of private theatricality and genuine human connection, Imbert has ensured that the "strange period of isolation" is remembered not just for the silence that defined it, but for the vibrant, resilient lives that persisted behind closed doors. As London continues to evolve, Pulp stands as a reminder of the city’s capacity to nurture, reflect, and eventually transform the people who make it feel special.