Emma McLaughlin is a former primary teacher turned piñata artist, who specialises in realistic face piñatas. After a childhood spent creating ‘things’ out of cardboard boxes, scissors and tape, Emma explores her nostalgia for that time by using piñatas as the basis of her creative practice, and she is drawn to the transient nature of art. Although her piñatas are made to be smashed, a growing number are being saved that fate and are instead kept on display.

See Emma’s work as part of our annual Spring open call, Keep Your Eye on the Doughnut, Not the Hole, which runs April 3rd to 24th, featuring an incredible collection of works by thirty artists leaning into joy, curiosity, and the often surreal pleasure of focusing on what is rather than what isn’t, in a myriad of mediums.

Hi Emma! Can you tell us how your artistic journey started?
My entire childhood was spent making ‘stuff and things’ – I made woven hats out of old plastic bags and created fruit machines out of cardboard boxes. I made (to my knowledge), the world’s largest fortune teller out of many sheets of paper taped together, and it was so big that once folded, it had to be operated by two people. I never threw a good box away as it was sure to be made into something. This need to make things has never left me, and I suspect that’s why I decided to become a primary teacher as I thought that I would spend all day making junk models with the children in my class. Unfortunately, I discovered that there was more to teaching than just junk modelling!

How did you arrive at the theme of your work?
Growing up in the 1980s, I had never even heard of a piñata. When I made my first one in 2018, it felt like I was a child again, back with my boxes and tape. As I made more of them, I quickly realised their potential for creativity, and started to experiment with different shapes, forms and techniques. I found that the piñatas that gave me both the greatest challenge and joy were those of realistic faces, and I developed my signature style. I love seeing people’s reactions when they see a piñata of themselves for the first time!

Which artists inspire you? Are there non-artistic influences such as literature or music that impact your work?
I’m drawn to street art – the colour, messages, and the transient nature of it. In the same way that it can be painted over or removed at any time, my piñatas are designed to be smashed and ruined, and I’m happy with the knowledge that my art might only be temporary. I also love art that is interactive and inspires the viewer to take part rather than be a passive observer. One of my favourite places to visit is Leake Street Tunnel in London because it is an ever-changing canvas of street art where anyone can join in. Another place that inspires me is Novelty Automation (again in London), which is best described as a mini arcade of off-beat mechanical machines – the imagination and ingenuity in creating them is off the scale, and it reminds me that anything goes.

Are there specific advantages or challenges associated with working in your chosen mediums? Have you experimented with other mediums or techniques??
There’s a lot of limitations when creating a piñata, and therefore difficulties arise in what is possible and what is not, and finding the best way forward for each one. When I make a piñata of a person, part of the challenge is finding a reference photo that generically looks like them, as if I don’t, it’s likely that the piñata won’t be as recognisable as I would like it to be. This is because the completed piñata will be missing key context clues such as clothing, actions and props. Careful editing needs to be done, as not every detail can be included, but it still needs to look like them. It’s also not possible to accurately colour match with tissue paper so it is a case of finding the best match from what is available. The main advantage of the materials I use are that they are easy to get hold of and inexpensive, which makes it accessible for anyone to try.

Will your next project be a continuation of your current style or are you experimenting with something different? Can you share a glimpse of your next project?
I want to experiment with different facial expressions, as up until now, most piñatas have had smiling faces. I also want to look at creating two or more piñatas that appear to communicate with each other through eye contact, expressions, etc. I find it suitably amusing that whilst I struggle to read facial expressions myself due to being autistic, this is something that I also want to explore.

Is there anything else you would like people to know about your work or your experiences as an artist?
Creating art from old boxes and tape is what I did as a child. Because of that, it’s taken me a long while to feel comfortable with calling myself an artist. But it’s what I do, have a need to do, and will continue to do, for as long as I can.

Find out more about Emma’s work on Instagram. Keep Your Eye on the Doughnut, Not the Hole runs at Six Foot Gallery until Thursday 24th April 2025.