Liverpool and Merseyside has a rich history of being a vibrant hub of creativity, home to artists whose work reflects the region’s rich culture and diversity. This new monthly column celebrates local talent by featuring a creative artist whose journey and craft has inspired and captivated across the region and internationally. Each article will explore the personal stories that shape their artistic style, uncovering how their background, experiences, and influences contribute to their unique vision.
From painters and sculptors to digital creators and performers, we’ll highlight the variety of art forms that enrich Merseyside’s creative scene. Alongside their process, we’ll examine how the region itself influences their work, whether through its history, culture, or landscapes. Themes such as identity, social issues, and nostalgia will offer readers a deeper understanding of the ideas driving their art.
Through engaging interviews, we’ll celebrate these artists’ achievements while acknowledging the challenges they’ve overcome. We’ll also explore their impact on the local community and their aspirations for the future. For aspiring creatives, each article will include advice and insights to inspire their own journeys.
January Spotlight: EB Lauren
Join us monthly as we showcase the extraordinary talent of Merseyside, connecting the stories of local artists to the broader world of imagination and creativity. And to start the series, we met with local artist EB Lauren, an illustrator specializing in mixed media and collage. She creates otherworldly creatures that explore themes like repression, childhood, and nostalgia. Her work combines playful elements with deep, thought-provoking ideas, offering viewers a whimsical yet transformative experience.
Now living in Liverpool, she draws inspiration from her formative years in a children’s art studio in London and her rural North Wales upbringing. Her distinctive style merges playful, childlike symbols with deeper themes, influenced by her experiences of solitude and imagination. Using mixed media, chaotic color palettes, and digital collage, she crafts immersive worlds that invite viewers to explore their subconscious and connect with the themes of nostalgia, repression, and liminality.
Lauren’s artistic perspective was shaped by studying Freud and Lacan’s Theory Of The Uncanny, along with her fascination with childhood memories and unsettling liminal spaces. Her influences include analog horror, old Japanese RPG horror games, and titles like Undertale and Silent Hill, which inform her ability to balance innocence with eeriness. By blending whimsical imagery with an uncanny atmosphere, Lauren’s work challenges perceptions and explores the blurred boundaries between the familiar and the unknown.
We caught up with her recently, and discussed her art and creative philosophy…
Liverpool Noise: What inspired you to become an artist, and how has that inspiration evolved over time?
EB: Art has always been my go-to outlet—a way to process my feelings, reflect on life, and find a sense of calm. As I’ve grown and changed, my relationship with art has evolved too. It starte as something deeply personal, a way to explore my connection to childhood and nostalgia. Being the oldest of three siblings, who I raised, I’ve always had this natural pull toward revisiting the wonder, curiosity, and the challenges of growing up.
When I turned 18, I started working with kids, and it felt like second nature. Being around their unfiltered creativity and emotions made me think a lot about my own inner child and how much I wanted to nurture and heal that part of myself. Over time, my illustrations became more than just personal expressions—they turned into something others could connect with too. By tapping into themes like nostalgia, playfulness, and emotions, I realised my work was sparking memories and feelings in other people. That connection became such a big part of why I do what I do.
My art is my way of honoring my inner child and creating a space where others can do the same. It’s about healing, celebrating the little joys of youth, and finding comfort in the process, not just for me but for anyone who sees it.
LN: Can you describe your creative process from concept to completion?
EB: I usually start by making marks in a really playful, almost childlike way—letting loose with symbolic drawings and mixed media on canvas. There’s no pressure at this stage; I just let my mood and inner child guide the process, allowing things to flow naturally. Once I feel happy with what I’ve created, I’ll scan different sections into my computer and bring them into Photoshop. This is when I start refining everything, developing solid concepts, and shaping my ideas into something more cohesive. Depending on what it is I’m working on, whether it’s a commission or a personal project, this inspires my next step.
I have so many ideas tucked away in diaries, bits of writing, poetry, and little sketches I’ve done from life – they are like my creative toolbox.
These pieces often guideme when I am working on my illustrations. For instance, I might have a quick sketch of a flower I spotted somewhere, and I’ll use that alongside my mark- making. I’ll scan everything into Photoshop and experiment, playing around to find ways to combine the two elements in a way that feels cohesive.
LN: How do you decide on the mediums and techniques you use for your projects?
EB: For me, it’s all about mixed media. I love combining different techniques and styles because Ifeel it adds so much depth and character to whatever I’m creating. While my overall process stays pretty consistent, I put a lot of thought into the colors I choose, the marks I make, and where I place them. It all depends on the theme I’m exploring or the message I’m trying to convey—it’s a balance between spontaneity and intention.
LN: I would like to discuss some of your artwork in a little bit more depth. Firstly, I would suggest such images as Cats In Space convey an other-worldly quality, perhaps child-like and fantastical. Then with Moon Walk, we enter a realm of the surreal, images juxtaposed reminiscent of Max Ernst’s Here Everything Is Still Floating. Lastly with Wales Study 3 the work is child-like, naive and spontaneous. Is such differing stylist approaches a response to your initial idea for the piece, or is the finished work the result of a process that has been worked through?
EB: Here Everything Is Still Floating is one of my favorite pieces too, so it’s really interesting that you picked up on it! A big part of why I create is to heal my inner child, and I love weaving a sense of otherworldliness into all of my art. It’s my way of capturing that bittersweet mix of playfulness and self-discovery that often feels lost as we grow up. One of the ways I do this is by incorporating symbolic drawing into my work—something I’ve learned a lot about during the past five years of teaching art to kids. Symbolic drawing reflects how children perceive and communicate their world through marks, lines, and quirky little sketches, especially from ages 0–4.
With this approach in mind, I try to stay focused on the process. I give myself plenty of room to change things as I go, and I rarely stick to my initial ideas (unless it’s a commission). My work is far from clean-cut or polished, but I think that rawness really aligns with my overall concept. It reflects the messiness of childhood and creativity, where discovery happens through play and experimentation rather than strict planning.
LN: What role does your environment or community play in shaping your art?
EB: I really thrive in collaborative spaces with other creatives. When I lived in London for five years, I often felt stuck in a rut because of the intense competition down South. Moving to Liverpool turned out to be such a great decision for me—I feel genuinely supported and surrounded by a vibrant, creative community. That sense of connection has been so motivating and has really inspired me to create more.
Interestingly, since moving up North, I’ve noticed a shift in my art. It’s become a bit lighter and more focused on the concept of ‘Home’. When I was in London, I felt quite isolated, which naturally led me to explore deeper and sometimes darker themes. Now, being just a stone’s throw from Wales, where I grew up, that closeness to my roots has started to show in my work. It feels like I’m reconnecting with a sense of place and belonging, and that energy has really shaped the direction of my art.
LN: What has been your most challenging piece to create, and why?
EB: My solo exhibition wasuch a personal project—it delved into topics I don’t often talk about, so turning it into a public show was emotionally draining. That said, it was absolutely worth it. The conversations I had with people who visited made it clear that the show resonated with them in a meaningful way, and knowing they took something away from it felt incredibly rewarding.
One of my favorite parts was an interactive room I created. I laid out crayons, pegs, string, and an old sketchbook, along with a set of instructions for anyone who wanted to take part. The task was to draw a portrait of themselves using their non-dominant hand, which naturally resulted in a playful, childlike version of their face. They could then choose to keep their drawing or hang it up on the string alongside others. Among the portraits, I had scattered words written in a similar childlike style, many of which referenced traumatic situations. It created this juxtaposition that I think really made people reflect.
On top of the emotional weight, it was physically exhausting to set up such large-scale characters and installations. But honestly, I’d do it all over again in a heartbeat. The experience of sharing something so deeply personal and connecting with others through it made every challenge worthwhile.
LN: Are there specific artists, movements, or cultural elements that influence your work?
EB: I don’t necessarily look to other artists for inspiration, but I do find a lot of influence in old 2000s media, especially video games like Silent Hill and Garry’s Mod. Growing up playing these games left a big impression on me. Even though today’s graphics are far more advanced, there’s something about the atmosphere and feeling of older games that just can’t be replicated. They have this charm and nostalgia that I find really inspiring.
On the other hand, I’ve also been intrigued by the rise of analog horror. It’s a style that leans into cryptic messages and low-fidelity visuals, creating something that’s eerie and unsettling. There’s something about that uncanny aesthetic that really grabs me—it’s visually fascinating and feels like a modern take on the rawness that made early gaming so impactful. Both of these influences feed into my work in different ways, shaping how I think about atmosphere, mood and storytelling.
LN: What has 2025 got in store for you?
EB: I’m planning to hold my second exhibition later this year, though it’s still very much in the early stages, so I don’t have too many details just yet. What I can say is that you can expect something along the lines of a really dark toy store, filled with strange, unsettling plushies. It’s an idea I’m really excited about and can’t wait to see how it comes together. In the meantime, I’m also involved in a few upcoming zines, like Hazy Magazine and Blood Orange Mag. It’s been great to be part of these projects!
EB Lauren was in conversation with Steve Kinrade.
Follow EB Lauren on Instagram for updates and visit EB Lauren’s website to discover their work.
Past Shows
Sound and Vision, Elevator Studios, Liverpool (November-December 2024)
Present & Upcoming Shows
92 Degrees Coffee, Phantasmal Gallery, Foxyard Studio.
