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Emma Talbot

‘During lockdown, I’ve really had to ask myself how art could or should function. What can art do in relation to a set of contemporary conditions we’d never experienced before? The CIRCA project, for artists to make works for the iconic outdoor screen extended the potential for art to have a life in a city.’

– Emma Talbot

Following a woman at the gateway between the old world and a new world to be made, Talbot’s ‘Four Visions for a Hopeful Future’ told the story of a protagonist in search of answers to guide both her own journey and the development of society to a spiritual and political rebirth, on the iconic Piccadilly Lights screen.

Coinciding with International Women’s Day (8 March), Talbot’s animations represented time as a universal space of fluid nature, punctuated with direct appeals to the viewer’s emotional reasoning, where past sadness could be transcended. Quoting Indian novelist Arundhati Roy, Talbot’s work utilized the giant display as “a portal, a gateway between one world and the next” through which we were passing with the changing of seasons. Drawing on a history of cultural flourishing following historic pandemics, as the Black Death preceded the Renaissance, Talbot imagined a world in becoming, unshackled from the darkness of the past and limitations of societies that came before.

Talbot, winner of the eighth Max Mara Prize for Women, had began to focus on her solo career only recently, following a career as an educator and academic in some of London’s most prestigious art schools. Her autobiographical work encompasses drawing, painting, animation, and sculpture. In a challenge to pessimism and cynicism, she confronts some of the world’s biggest structural problems, from gender inequality to the environmental collapse.

Her Four Visions were broadcast in a rolling four-night schedule throughout March 2021. Animated in hand-drawn landscapes of natural and celestial beauty, lush with bodily and floral forms, Talbot searched for answers to the questions that best defined a hopeful world as the savage winter drew to an end:

A Year of Dark Shadows What will it take to emerge from a year of darkness and heal, Talbot asks? “Do you stare down into the pit… or up to the stars, pinpoints of hope in the night sky?”
What is a City? The future of our cities, having depopulated and re-awoken, rests on decisions we now take between exponential growth and other forms of value
Our Own Creation Talbot proposes ideas for how we each might come to visualise a hopeful future
Chorus The communal nature of the challenge ahead and the polyphony of positive voices that are necessary to build a movement for cultural rebirth



CIRCA YouTube Channel, Emma Talbot
Instagram Live: Emma Talbot and Laura Smith
Instagram Live: Emma Talbot and Lydia Petit



lives and works in London. Her work in drawing, painting, installation and sculpture explores the inner landscape of personal thought, emotion and narrative. These individual subjectivities are then cast into wider narratives, addressing prevalent contemporary concerns. Her work is often hand-drawn or painted onto silk or other textiles, and incorporates her own writing or quotes from prominent female authors.

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Opened to the public in Reggio Emilia, Italy in 2007. It is a private collection of contemporary art with an important historical collection (1950-2017); it continues to present new projects and commissions from international mid-career and young artists. For further information, please visit www.collezionemaramotti.org

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Wallpaper* Magazine, Emma Talbot on optimism, feminism and reconfiguring the roots of power
Collezione Maramotti, Emma Tablot for c.20:21
Whitechapel Gallery, Artist Q&A with Emma Talbot
Royal College of Art, Emma Talbot and Lydia Pettit in conversation




A Year of Dark Shadows
Question 1/31
Behind-The-Scenes Film 1
Bio: Emma Talbot
Portraits: Emma Talbot

What is a City?
Question 2/31
Emma Talbot on the Piccadilly Lights
Four books, Four seasons

Our Own Creation
Question 3/31
Behind-The-Scenes Film 2
Arundhati Roy: ‘The pandemic is a portal’, 2020

Question 4/31
Behind-The-Scenes Film 3
Isabelle Stengers, 'In Catastrophic Times: Resisting [...]
Emma Talbot's top reads

A Year of Dark Shadows
Question 5/31
A Year of Dark Shadows, details
Resident Photographer - Kirsty Sim

What is a City?
Question 6/31
Hildegard of Bingen

Our Own Creation
Question 7/31
Behind-The-Scenes Film 4
Valerie Kaur

Question 8/31
Anaïs Nin, Agafia Lykova, Hildegard Von Bingen, Mer [...]

'A Year of Dark Shadows'
Question 9/31
Peter Fenwick, The Art of Dying

What is a City?
Question 10/31
Etruscan pottery

Our Own Creation
Question 11/31
Covid-19’s impact on the arts

Question 12/31
John Kelsey, VIRUS-TIME, June 2020
Resident Photographer - Kirsty Sim

A Year of Dark Shadows
Question 13/31
Piccadilly Circus 1969 - 1984
Harry Josephine Giles, I Woke Up and The Arts Was Go [...]

What is a City?
Question 14/31
Behind-The-Scenes Film 5
London Futures

Our Own Creation
Question 15/31
Emma Talbot, Outside, a freedom that is only in your [...]
Emma Talbot home pictures

Question 16/31
Sonic Agency by Brandon LaBelle, 2018

A Year of Dark Shadows
Question 17/31
Joni Mitchell, Nina Simone, Vieux Farka Touré, Alic [...]

What is a City?
Question 18/31
Stevie Wonder, Inner Visions, 1973
I Malavoglia (the House by the Medlar Tree), by Giov [...]

Our Own Creation
Question 19/31
Learning From The Virus, Paul B. Preciado
Resident Photographer - Kirsty Sim

Question 20/31
Behind-The-Scenes Film 6
The Beginning of Spring, Penelope Fitzgerald

A Year of Dark Shadows
Question 21/31
What Is Hauntology? by Mark Fisher
Fellini Satyricon by Federico Fellini

What is a City?
Question 22/31
Behind-The-Scenes Film 7
Radical Care Survival Strategies for Uncertain Times [...]

Our Own Creation
Question 23/31
Our Own Creation, details

Question 24/31
Behind-The-Scenes Film 8
Ghost Calls at Dundee Contemporary Arts

A Year of Dark Shadows
Question 25/31
William Burroughs, The Cut Up Method

What is a City?
Question 26/31
Donna J. Haraway, 'Simians, Cyborgs, and Women'
Hito Steyerl, 'Too Much World: Is the Internet Dead? [...]
Resident Photographer - Kirsty Sim

Our Own Creation
Question 27/31
Behind-The-Scenes Film 9
Emma Talbot's studio

Question 28/31
Chorus, details

A Year of Dark Shadows
Question 29/31
Behind-The-Scenes Film 10
Emma Talbot's young artist selection
Charlie Colville - Searching for the Future with Emm [...]

What is a City?
Max Mara Art Prize for Women

Every day throughout the month, you can watch, read and discover more from our CIRCA artists and contributors. Select any day on the calendar to learn more or go back in time and explore the archive.

Ouroboros Time in the Universe of Emma Talbot

By Louisa Elderton 
1st March, 2021

What may your vision for a hopeful future look like? How to explicate the way the world could be? How to harness time; fold it, elongate it, compress it according to the shapes that you want to see? And how may your body move in relation to these shapes, with skin that wants to feel? As depicted by the British artist Emma Talbot’s work, fingertips curl into themselves if there is no one else to touch. Plant tendrils coil as they climb, spiralling, stretching for support. Galaxies assiduously swirl, systems of stars, dust and dark matter that are gravitationally bound and yet celestial. There are infinite such layers that constitute our universe, but what else could our world be? Or rather, how else could it function?

Talbot’s series of four animations for CIRCA, Four Visions For a Hopeful Future (all works 2021), conjures such questions. Of a post-viral world that needs re-birthing. Known for her drawings, paintings and sculptures that combine word and image to narrate the complex nature of human existence, these are Talbot’s first animations, a self-taught skill that she learnt in 2020 during the UK’s first coronavirus lockdown. 

They describe the pressures and inequalities that we have been living under, not only as the result of the COVID-19 pandemic but prior to this even, under an accelerated capitalist structure. In the animation What is a City?,one of Talbot’s faceless figures – the artist’s signature bodies that reflect both her own interiority, as well as being a proxy for every body – is blown down a street, past row upon row of houses, turning and tumbling uncontrollably in a turbulent wind. They climb an enormous staircase, weighted by outsize arms, only to reach the top and topple into a void, falling as columns crash all around – a system collapsing into ruins. Talbot asks, are you part of a city, making decisions that have an effect, or are you a sleeping partner? Does the city see you? Is your image reflected in the windows of skyscrapers or are you rendered invisible? 

The coronavirus pandemic has held up a mirror to the structural racism in the UK’s labour market. A recent study has revealed that jobless rates among BAME groups are now double the rate for white people. As the TUC general secretary, Frances O’Grady, has said: “When BME workers have held on to their jobs, we know that they are more likely to be working in low-paid, insecure jobs that put them at greater risk from the virus. This is evidence of the structural discrimination which has led to a disproportionate BME death rate from coronavirus”.1

Having read and reflected on the Belgian philosopher Isabelle Stengers’ 2009 book In Catastrophic Times, Resisting the Coming Barbarism, Talbot describes how, “I was thinking a lot about how we imagine a future […] this idea of a set of structures that we’ve lived under and that we could rethink. How they function, how they could be kinder in terms of what is expected from a human experience. But also in terms of productivity, how they operate and what a life equates to. How we could build communities, be more experimental.”2 Four Visions For a Hopeful Future is about how we can imagine (and represent) moving from one phase into a very different way of living. It is about hope for another mode of existence in which all people have subjectivity. And where there is enough space, enough scope for this to be shared.    

Drawing and cutting out motifs and figures before layering theses and moving each part in stop motion animation, the worlds that Talbot creates are drawings in which people walk around – move, explore. Her accompanying soundscapes layer operatic voices with vibrating synths and deep base notes that have sensorial resonance. Our Own Creation speaks to the beginning of a new time, where the clouds part and a faceless person is born from a hole in the sky. An ever-rotating planet is marked by mercurial swirls. Snakes rise up in salute, forming undulating patterns. Multi-coloured birds fly through a whirling atmosphere. Below, a tree grows and then sheds its leaves, respecting the seasonal cycle. This is an expanding universe where life moves gradually, where we are integrated, connected to the earth and nature. This is slow time, removed from the hyperactive speed of late-capitalist living. 

Indeed, there is a timelessness about these worlds; spaces where past, present and future seem to whirl as one. Ouroboros time. Archetypal time. A collective unconscious brought into being. However, while these may look like dreamscapes, utopias, they are grounded in a developing movement of thought that is part of our contemporary zeitgeist. Arundhati Roy’s essay ‘The Pandemic is a Portal’, for example, describes the coronavirus as “bringing the engine of capitalism to a juddering halt.”3 She asks, if capitalism is like a train crash, what does one do amid the wreckage? You can look at it and think about how to replace the parts, or alternatively, you think about how to build a new engine. 

These ideas may sound utopic, but they are actually possible and there is a growing weight behind such ideas. As Talbot says, “It is possible for us to think differently about how our lives are structured, as well as production and food production – responsible ways to go about living. It’s about whether you believe that’s the right way to be moving forward, or whether you have a vested interest in clinging onto what was before. There are systemic inequalities at all levels of the structures that we live in. It’s not impossible to say it doesn’t have to be like that.”4

The artist’s animations ask us to dive into the undertow, to look beyond the surface of the water that has mesmerised us with our own reflections, to breath out and move in a different direction, together. 

1 Nazia Parveen, ‘Covid job losses show structural racism of UK labour market, says TUC’, The Guardian, 27th February 2021, https://www.theguardian.com/society/2021/feb/27/covid-job-losses-show-structural-racism-uk-labour-market-tuc (accessed 27th February 2021).

2 Interview with the author Louisa Elderton, 27th February 2021. 

3 Arundhati Roy, ‘The Pandemic is a Portal’, The Financial Times, 3rd April 2020, https://www.ft.com/content/10d8f5e8-74eb-11ea-95fe-fcd274e920ca (accessed 28th February 2020). 

4 Interview with the author. Op. cit. 

Louisa Elderton is a writer, editor and art critic based in Berlin. She regularly contributes to publications including Artforum and Frieze, and is the German correspondent for Flash Art. She is the Curatorial Editor at the Gropius Bau, having written the texts for the institution’s upcoming exhibition Yayoi Kusama: A Retrospective, and editing their Online Journal. She is also the Editor of Side Magazine, a publication that accompanies the fourth edition of the Bergen Assembly, taking place in 2022. As the Project Editor of Phaidon’s ‘Vitamin’ series, her most recent publication was released in January, Vitamin D3: Today’s Best in Contemporary Drawings.