In this interview, we speak with Natalia Talamagka, an artist and art therapist whose work explores themes of abortion, reproductive rights, and feminism. Through a multidisciplinary approach that spans photography, installation, and sound, the work examines the intersections of personal experience, collective memory, and societal structures. Natalia's latest exhibition, "Reflections on Revolt: If We Whisper at the Same Time, I’ll Remember Everything", delves into the emotional and political dimensions of reproductive justice, highlighting the power of care and compassion within acts of resistance.

✧✧✧

Tell us about your work. What inspired you to engage with the themes of abortion, reproductive rights, and feminism?

The exploration of themes such as abortion, reproductive rights, and feminism in my work stems from a desire to understand the world around me. As an art therapist, I often encounter feelings of guilt and shame related to the medical system, the experiences of pregnancy and motherhood, and the laws and legislation surrounding these topics. It became clear to me that there’s a significant lack of understanding around these issues. This body of work started as a research project on personal biases and transgenerational trauma, focusing on how knowledge is shaped and redefined over time. It has become central to my practice as an artist. While abortion and reproductive justice have long been important aspects of the feminist movement, my work specifically addresses the role of societal hierarchy and power structures. I am interested in exploring how these systems "land" on the body, how they can be traumatizing, and how we, as individuals and societies, make sense of these experiences and come to reconsider them and ultimately redefine them. 

What does it mean to be a feminist artist today?

I believe feminism comes in many forms and is a deeply personal process of coming to terms with one's own narrative. It’s constantly being (re)defined. For me, being a feminist artist today means re-exploring the need for spaces to be created and for needs to be addressed. It challenges one’s ability to dream and imagine what could be, and to envision new shapes and structures that need to be created. It also means continuously questioning one’s (op)position. For me, continuing to dream, love, and create safe spaces around us allows me to rest and then keep thinking. Even though feminism and the world around us are moving so fast, I find that I create because I need to give form to what I’m feeling. Later, after I’d taken some distance, I came to understand what the underlying need was. However, there are times when I resist creating or struggle to find the means to do so, and I try to embrace that as well, recognizing that there’s a reason behind it. I think that it’s in these pauses and moments of reflection that I can stay grounded and true to my work.

How does your art therapy practice influence your artistic practice?

My work as an art psychotherapist deeply influences my artistic practice and vice versa. I often draw from my therapeutic work as I explore personal bias, continually re-centring collective reasoning and reflecting on my pre-existing ideas. Creating as a form of self-reflexivity is crucial in my practice, as it reminds me that dismantling personal bias and constantly redefining my perspective on various issues through introspection is the first step in creating a safe space of acceptance. I believe this process serves as an effective method of research in both art therapy and art itself. As an artist, I am both one with the object of creation and apart from it. However, as an art therapist, I am constantly redefining my process. This aligns with Robbins' (1987) concept of a dialectic between 'fusion and separateness,' where the boundaries between self and the work are fluid and ever-evolving.

Tell us more about the exhibition. Why did you choose the title “Reflections on Revolt: If We Whisper at the Same Time, I’ll Remember Everything”?

The title "Reflections on Revolt: If We Whisper at the Same Time, I’ll Remember Everything" draws on the significance of memory and the influence of collective memory, particularly in relation to faith and the act of creating space to show care and compassion. Much of my work explores guilt and shame and how it is conveyed in various forms, as well as the importance of revolt. This concept is inspired by Julia Kristeva’s definition of revolt, which, for me, is at the core of this exhibition. At its heart lies compassion and love as revolutionary acts — actions through which we can create more inclusive and safe spaces, both symbolically and literally. The title references collective care and underscores how essential it is for care and love to exist within revolution. I wanted to convey that even a hesitant whisper can have a profound impact, especially when it falls on ears willing to share their own secrets. This exchange is a significant moment, one that should not be taken for granted. Over time, the guilt and weight of these secrets gradually lose their burden. The word “reflections” is also key because it speaks to my intention to visualize my own process of reflecting on and imagining the world I want to live in.

What message do you want to convey through your work?

Through my work, I aim to create a space where abortion can be openly discussed — a space where similar lived experiences are not hidden or covered up. The exhibition calls for a sense of worthiness and compassion for the experiences of bodies, and highlights how these experiences are shaped by a collective sense of care and empathy. It seeks to remove the secrecy and guilt surrounding the decision to end a pregnancy, and instead, it returns to the core of transgenerational guilt, acknowledging and then owning one’s narrative.

Why did you choose to present this exhibition in Greece, and why now?

After living in the UK for nearly 10 years, I decided to move back to Athens. In the last group exhibition I participated in before my move, I created the installation “Next Day Traces,” which is now part of this exhibition. It felt only natural to bring this piece, along with others, to Athens, the city where I was born, especially at a time when discourse on abortion and access to safe abortion is rising. Much of my personal narrative has been shaped by my birthplace, and presenting the exhibition here allows me to reflect on that connection. 

Tell us more about your diverse choice of media.

This exhibition consists of works created since 2021, I began by primarily using photography. I find photography to be a medium that allows me to observe the world, make sense of it, record history, and keep memories alive. I appreciate photography because it gives me distance from the subject, especially film photography, which requires time to develop. This distance is important to me, as it creates the space to process and understand what I’ve captured.

Later on, I incorporated installations and sound collages, using scripts of recorded conversations with loved ones (with their consent, of course) to create an immersive space and explore the topics more deeply. The most recent piece, which I created for the exhibition is a silver-casted Air Force 1 shoe (3D design, printing and electroplating by Homer the Jeweller) is particularly significant to me. It serves as a statement on memory, and I’m drawn to the permanence of metal, something that is difficult to destroy. It comforts me to think that this piece will endure, serving as a lasting reminder of the memory it represents. Through my diverse use of media, I see it as symbolic of my attempt to make sense of different things in various ways.

What’s next for you?

I hope to continue creating more spaces where topics like abortion and pregnancy loss can be safely explored. Now that I’ve contemplated my own understanding of revolution, my next step is to continue assisting through my art therapy practice. I aim to create spaces, both through art and therapy, that encourage introspection and allow individuals to process these deeply personal experiences. Finally, I am working on some pieces and work to be exhibited at KSENOI part 2, in Athens, a group show curated by Anna Makri.

✦ ✦ ✦

With a practice deeply rooted in both artistic exploration and therapeutic work, Natalia Talamagka continues to challenge narratives surrounding reproductive rights, feminism, and collective memory. The work creates much-needed spaces for open conversation and reflection, offering a powerful commentary on the ways personal and societal histories shape the understanding of the body. As new projects take shape, including participation in "KSENOI part 2" in Athens, anticipation builds for the ways this evolving practice will continue to provoke thought and inspire dialogue.