Joe Webb’s Analogue Collages in the Age of Digital Art

Transmission 089: Interview with Joe Webb

Joe Webb is a full-time artist specializing in handmade collage and oil painting. He graduated with a BA in Fine Art from the University for the Creative Arts (UCA). After spending many years working in graphic design using computers, Webb abandoned technology to focus on creating “analogue” collages. His handcrafted collages are surrealistic, made from vintage magazines that he has collected. Webb uses simple modifications to rework and reimagine found photographs, creating provocative artworks. His work juxtaposes visual elements, allowing characters to transcend their 1950s magazine origins and explore the farthest reaches of space.

Though his themes sometimes explore loss and melancholy, Webb ultimately creates playful visuals that reflect contemporary sampling culture, assembling and compressing sources from across the cosmos in vibrant color schemes. His artworks have gone viral online, shared by hundreds of thousands of people. In addition to his online presence, Webb has exhibited and sold his work internationally. His paintings, original collages, and prints are included in private collections such as those of The Madden Brothers, Eric Cantona, Coldplay, and the Saatchi Gallery, 45 Park Lane. His work has also appeared in advertisements, book covers, and album covers for artists like Tears For Fears and Janelle Monáe, and served as inspiration for a Coldplay music video. Webb supports charities like The Eden Project, Heart Research UK, and The Big Issue through donations of his artwork.

Featured image: The Cloud Eaters Return 2024
Joe Webb’s official site & Instagram

Collage can be seen as a visual form of poetry. How did you become a collage artist? Can you share with us your story?

I initially studied painting at art college, where I also experimented with collage and photography. After graduating, I took a job as a commercial graphic designer to pay the bills, which kept me on the computer 24/7. After a few years of this, I began to crave a return to hand made art. Collage became the perfect outlet—something I could do in the evenings that was creative, tactile, and far removed from the digital world I was immersed in during the day.

When I started sharing my collages online, the positive feedback was immediate. Encouraged by this, I entered one of my pieces into an art competition at London’s Saatchi Gallery, and to my amazement, it won. The prize was an exhibition at the gallery, which opened doors for me. I developed a solid working relationship with Saatchi and other galleries, eventually making the leap to becoming a fulltime artist.

How does your background or personal history influence the themes and aesthetics of your work? Who or what are some of your biggest influences in the world of art and beyond?

A lifechanging experience at 19 profoundly shaped my perspective. I had a neardeath experience due to a twisted intestine that required emergency surgery. Coming out of that ordeal with a renewed sense of gratitude, I became acutely aware of the miracle of simply being alive. This outlook permeates my work. I often explore themes of existence, the randomness of life, and the beauty of our planet hurtling through space. There’s a 1 in 10 billion chance of being born human on a lifesustaining planet—something I see as winning the cosmic lottery. Despite the chaos and struggles of the world, I remain an optimist, and my art reflects that hopefulness.

How do you decide on the themes or narratives in your collages? Do they emerge organically, or are they premeditated? What role does spontaneity play in your work? Do you leave room for improvisation, or is your approach more methodical? How do you balance the chaos and order within a collage? Is it something you consciously strive for, or does it come naturally?

The themes in my work are a natural extension of my interests and reflections on life. The images I use tend to reveal themselves to me in a process that feels almost like a conversation between the materials and my subconscious. There’s an organic flow to how the work takes shape, often starting with a single image that sparks an idea. While some elements are planned, spontaneity plays a crucial role—I let the materials guide me, allowing the work to evolve naturally. The balance between chaos and order is something that emerges intuitively, rather than being a conscious effort. It’s a dance between letting go and guiding the composition towards a final, harmonious form.

Can you walk us through your typical process of creating a collage? How do you select the materials and images you use? Do you have a favourite type of material or medium to incorporate into your collages? Why does it appeal to you?

I’m always on the lookout for materials, whether I’m at home or traveling. For example, I once found a fantastic collection of vintage magazines and books at a ‘Loppis’—a secondhand popup store—while on holiday in Sweden. These discoveries become the raw materials for my collages.

Back in the studio, I sift through these materials, clipping out anything that catches my eye—often favoring images that are vintage, blurry, or enigmatic. The process is slow and methodical, with some images sitting unused for years until they find their perfect place in a piece. Others come together almost instantly, like a puzzle piece snapping into place.

What do you find most challenging about working with collage, and how do you overcome these challenges?

The biggest challenge is finding the right images. There can be long stretches—sometimes months or even years—where nothing I come across inspires me. However, when I do stumble upon a treasure trove of material, like the suitcase full of 1950s books and magazines I found in Sweden, it reignites my creative energy. Overcoming these dry spells requires patience and a belief that the next inspiring find is just around the corner.

Collage offers a wide range of techniques. Are there any experimental methods or unconventional approaches you’ve tried?  How has your collage style evolved over time? What factors have influenced this development?

I generally prefer to work directly with original found materials, keeping the process as simple and authentic as possible. However, over the years, I’ve experimented with different techniques, such as enlarging images, reprinting them, or printing onto wood with silkscreen before layering collage and paint on top.

While these experiments have been valuable, I’ve always returned to the intimacy of smaller, original collages. They capture the raw, unfiltered moment when an idea first comes together—something that’s hard to replicate through other methods.

Are there any specific milestones or projects that marked a turning point in your style? Can you share a story behind one of your favourite pieces? What makes it particularly meaningful to you?

Creating the piece ‘Antares and Love’ marked a significant shift in my approach. This work taught me that sometimes, less is more. By juxtaposing just two or three elements, I realized I could create a more powerful statement than with more intricate compositions. This discovery led me to produce a series of works with a similar minimalist approach, each one distilling the collage down to its most essential components.

What messages or emotions do you aim to convey through your collages?  What kind of response do you hope to evoke from your audience?

My goal is to evoke a sense of wonder and appreciation for the intricacies of life and the universe. I want viewers to pause and reflect on the beauty of existence—the improbable miracle of being alive. I hope my work inspires people to see beyond the mundane and connect with a deeper sense of gratitude and awe.

We live in the A.I. era that was possible due to incorporation of all human experience and creativity. Collage as a medium often involves incorporating existing images. How do you navigate the considerations of using found or copyrighted materials?

I make a conscious effort to use materials that are 50 to 100 years old, often selecting images that are obscure. Copyright is a complex issue, with laws varying by country. In cases where my work has a commercial application, like an album cover, I take extra care to track down the original sources and secure the necessary permissions.

In your opinion, what is the most misunderstood aspect of collage art? How do you see the role of collage evolving in the contemporary art world, especially with digital and mixedmedia A.I. practices becoming more prevalent?

One common misconception about collage is that it’s easy—something anyone can do. While that may be true to an extent, the dedication it takes to fill a room with thousands of books and magazines, then spend days sifting through them for just the right image, is not something most people are willing to do. As for the rise of digital and A.I. art, I see these as just more tools for creativity. However, for me, collage is about stepping away from the screen and engaging directly with physical materials. It’s that tactile, hand made experience that I find most fulfilling, and I believe it will continue to hold a special place in the art world, even as technology advances.

Photos & illustrations courtesy of Joe Webb

Dominique Musorrafiti

Ciao! My name is Dominique. I’m Italian and I’m proud to be a mix. My father was an Italian chemical engineer and high school teacher, with Greek and Polish heritage. My mother is Haitian, she was high school language teacher, with Dominican, Spanish, French, Portuguese, African and Native American heritage. Being a mix makes me appreciate to want to understand different cultures and lifestyles. I grew up in Italy, lived few years in Haiti, travel around main European capitals, lived many years in China, in Spain and UK. Traveling makes me feel that we can learn something from every situation in every part of the world.