Speaking Freely: Emma Shapiro

Emma Shapiro is an American artist, writer, and activist who is based in Valencia, Spain. She is the Editor-At-Large for the Don’t Delete Art campaign and the founder of the international art project and movement Exposure Therapy. Her work includes the use of video, collage, performance, and photography, while primarily using her own body and image. Through her use of layered video projection, self portraiture, and repeated encounters with her own image, Emma deconstructs and questions the meaning of our bodies, how we know them, and what they could be.

Regular censorship of her artwork online and IRL has driven Emma to dedicate herself to advocacy for freedom of expression. Emma sat down with EFF’s Jillian York to discuss the need for greater protection of artistic expression across platforms, how the adult body is regulated in the digital world, the role of visual artists as defenders of cultural and digital rights, and more.

York: What does free expression mean to you?

Free expression, to me, as primarily an artist—I’ve now also become an arts writer and an advocate for artistry things including censorship and suppression online of those who make art —but, primarily, I’m an artist. So for me free expression is my own ability to make my work and see the artwork of others. That is what is, baseline, the most important thing to me. And whenever I encounter obstacles to those things is when I know I’m facing issues with free expression. Besides that, how free we are to express ourselves is kind of the barometer for what kind of society we’re living in.

York: Can you tell me about an experience that shaped your views on freedom of expression?

The first times I encountered suppression and erasure of my own art work, which is probably the most pivotal moment that I personally had that shaped my views around this in that I became indignant and that led me down a path of meeting other artists and other people who were expressing themselves and facing the exact same problem. Especially in the online space. The way it operates is, if you’re being censored, you’re being suppressed. You’re effectively not being seen. So unless you’re seeking out this conversation – and that’s usually because it’s happened to you – you’re easily not going to encounter this problem. You’re not going to be able to interact with the creators this is happening to.

That was a completely ground-shifting and important experience for me when I first started experiencing this kind of suppression and erasure of my artwork online. I’ve always experienced misunderstanding of my work and I usually chalked that up to a puritan mindset or sexism in that I use my own body in my artwork. Even though I’m not dealing with sexual themes – I’m not even dealing with feminist themes – those topics are unavoidable as soon as you use a body. Especially a female-presenting body in your artwork. As soon as I started posting my artwork online that was when the experience of censorship became absolutely clear to me.

York: Tell me about your project Exposure Therapy. We’ve both done a lot of work around how female-presenting bodies are allowed to exist on social media platforms. I would love to hear your take on this and what brought you to that project. 

I’d be happy to talk about Exposure Therapy! Exposure Therapy came out of one of the first major instances of censorship that I experienced. Which was something that happened in real life. It happened at a WalMart in rural Virginia where I couldn’t get my work printed. They threatened me with the police and they destroyed my artwork in front of me. The reason they gave me was that it showed nipples. So I decided to put my nipples everywhere. Because I was like… this is so arbitrary. If I put my nipple on my car is my car now illicit and sexy or whatever you’re accusing me of? So that’s how Exposure Therapy started. It started as a physical offline intervention. And it was just my own body that I was using. 

Then when I started an Instagram account to explore it a little further I, of course, faced online censorship of the female-presenting nipple. And so it became a more complex conversation after that. Because the online space and how we judge bodies online was a deep and confusing world. I ended up meeting a lot of other activists online who are dealing with the same topic and incorporating other bodies into the project. Out of that, I’ve grown nearly everything I’ve done since as having to do with online spaces, the censorship of bodies,