The global health crisis of 2020 fundamentally altered the urban landscape of major metropolitan areas, casting an unprecedented stillness over cities typically defined by perpetual motion. For London, a metropolis renowned for its frenetic energy, crowded transit systems, and bustling cultural sectors, the onset of government-mandated lockdowns created a surreal environment of eerie quietude. Streets devoid of rush-hour traffic, grounded commercial fleets, and a widespread shift toward domestic seclusion characterized this historic era. It was within this climate of enforced isolation that French photographer Maxime Imbert, a decade-long resident of the British capital following his studies at Central Saint Martins, found himself navigating a personal crossroad. Contemplating a permanent relocation to Paris, Imbert instead chose to anchor himself deeper into the fabric of London. Through an organic photographic endeavor born out of the interlude between stringent lockdown phases, he set out to document the lives of those who remained, resulting in a newly published photo book titled Pulp.
Main Facts of the Publication and Exhibition
Published by Alep, Pulp compiles a diverse collection of domestic portraits documenting individuals, siblings, friends, couples, and roommates within the private confines of their residences. Rather than surrendering to the pervasive atmosphere of lethargy and anxiety, the subjects captured in Imbert’s lens actively resisted the aesthetic of pandemic hibernation. Eschewing the ubiquitous comfort of leisurewear and sweatpants that defined remote work culture, the participants in Pulp adopted striking, theatrical, and expressive wardrobes. The imagery features subjects adorned in avant-garde attire, creative fetish wear, neon bikinis, thigh-high silver boots, and elaborate makeup. These visual choices served as a profound act of defiance against the anonymity and invisibility imposed by public health restrictions. The publication officially debuts to the public with a dedicated launch event scheduled for September 18, 2026, at the independent London bookstore Claire de Rouen, located on Kingsland Road.
Chronology of a Ten-Year Residency and Pandemic Transformation
The timeline of Pulp spans both Imbert’s personal history in London and the acute phases of the COVID-19 pandemic. Having arrived in the British capital ten years prior to study at the prestigious Central Saint Martins, Imbert integrated himself into the city’s creative underground and artistic communities. By early 2020, as the pandemic paralyzed global mobility, he was already evaluating his next career and geographical moves, weighing the prospect of returning to France.
When the United Kingdom entered its initial national lockdown in March 2020, followed by subsequent waves of restrictions and temporary reopenings through 2021, Imbert utilized these lulls in governmental mandates to initiate his documentary project. Operating within a society largely restricted to digital communication channels such as Zoom and House Party, Imbert bypassed the virtual space to engage in physical, face-to-face interactions under strict health guidelines. The shoots, which involved both familiar faces from his personal network and new subjects connected via London-based casting directors, evolved from a casual creative outlet into an extensive visual archive. This multi-year process culminated in the editorial selection and publication of Pulp by Alep, culminating in the late-2026 book launch.
Supporting Data and Demographic Context of London Lockdowns
To understand the weight of Imbert’s project, one must examine the socio-spatial data of London during the pandemic. According to mobility and housing data from the Office for National Statistics (ONS), millions of urban residents experienced unprecedented isolation, with average daily travel dropping by over 70 percent during the peak weeks of 2020. The spatial confinement of Londoners to small apartments, flat-shares, and houses transformed the domestic sphere into an all-encompassing universe—simultaneously a workplace, a social venue, and a sanctuary.
Furthermore, economic and cultural reports from this period highlighted a severe contraction in the creative industries, with nightlife venues, galleries, and independent fashion scenes shuttered indefinitely. Within this data-driven context of confinement, Imbert’s work captures a specific demographic segment: young creatives, artists, and urban dwellers who utilized fashion and bodily presentation as psychological armor. The demographic makeup of Pulp reflects London’s heterogeneous population, blending established models with everyday roommates and peers, thereby documenting a cross-section of the city’s resilient creative class.
Artistic Methodology and Interpersonal Dynamics
The creation of Pulp was rooted in a collaborative exchange that extended far beyond standard documentary photography. Imbert has frequently emphasized the therapeutic nature of these photographic sessions, noting that the act of sharing a cup of tea and engaging in extended conversations about life provided mutual emotional grounding during a period of collective trauma.
This interpersonal dynamic fostered deep, albeit occasionally circumstantial, bonds between the photographer and his sitters. Imbert highlights his time spent with Dominic, a peer with whom he grew close during the production of the book. Their shared experiences—discussing past relationships, sharing domestic meals, and playing the guitar together—exemplify the intimate micro-communities that formed within London apartments during the health crisis. Although shifts in life trajectories have since led to a separation in contact, these relational anchors remain central to the ethos of the book. By establishing a reciprocal dialogue, Imbert transformed the camera from an instrument of distant observation into a medium for genuine human connection.
Implications and the Cultural Significance of Visibility
The release of Pulp offers significant cultural implications for how contemporary society archives periods of crisis. Historically, documentary photography during pandemics or wartime tends to emphasize deprivation, clinical environments, or stoic endurance. Imbert’s work diverges from this tradition by celebrating hyper-visibility, theatricality, and personal agency.
Sociological analysis of pandemic-era behavior indicates that self-presentation played a vital role in maintaining mental health and identity when external validation structures—such as clubs, galleries, and workplaces—were temporarily eradicated. By dressing in neon bikinis, metallic boots, and elaborate cosmetics inside ordinary living rooms, Imbert’s subjects reclaimed control over their own gaze. They positioned themselves not as passive victims of circumstance, but as active participants in a future-facing archive. The photo book thus serves as a historical document that challenges the monolithic narrative of lockdown monotony, proving that even under conditions of severe restriction, human creativity and the desire to be seen remained unquenched.
