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Condition Report: Emma Webster

On the eve of her first real New York show, the L.A.-based artist explains her futuristic process, in which she uses 3D sculpting software, a V.R. headset, and the glitches of the natural world to create landscapes like no other.

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Emma Webster
"Whenever I bring something into the digital world, I try to make sure a certain level of artifice is embedded in it. There’s already so much technology trying to convince you of its seamless realism. So when I sketch a deer or scan a tree, it needs to carry some degree of error, glitch, and manipulation that shows you can have this realistic scene with these unrealistic characters or components," says Emma Webster. Photo: Jacob Ogden/Courtesy of DADA Goldberg
Marion Maneker
April 29, 2026

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Emma Webster was one of the most heavily sought-after painters to emerge in the post-pandemic boom. So I was surprised to learn, when I spoke to her recently, that her show at Petzel, opening this week, was her first major solo exhibition in New York. The demand, it turns out, mostly generated from showing in Seoul, Korea. As she told me, her career “really blossomed first through the Asian market,” Europe followed gradually, and America is still “coming on board.”

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