For CIRCA 20:21, she presented a new body of four animated films in collaboration with Whitechapel Gallery, Collezione Maramotti and the Max Mara Art Prize for Women.

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’ tells 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 represent our current moment as a universal space of fluid nature, punctuated with direct appeals to the viewer’s emotional reasoning, where past sadness can be transcended. Quoting Indian novelist Arundhati Roy, Talbot’s work utilizes the giant display as “a portal, a gateway between one world and the next” through which we are passing with the changing of seasons. Drawing on a history of cultural flourishing following historic pandemics, as the Black Death preceded the Renaissance, Talbot imagines 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, has begun 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 winning proposal for the Max Mara prize, a feminist response to the apparent shame of female aging presented in Gustav Klimt’s painting Three Ages of Woman (1905), is emblematic of her works that communicate the personal as political.

Emma Talbot (b. 1969, Stourbridge) lives and works in London. She studied at the Birmingham Institute of Art & Design and Royal College of Art. Working in drawing, painting, animation and sculpture Talbot often articulates internal narratives as visual poems or associative ruminations, based on her own experience, memories and psychological projections. Incorporating her own writing and references to other literary and poetic sources, Talbot’s work considers complex issues such as feminist theory and storytelling; ecopolitics and the natural world; and pertinent questions regarding our shifting relationships to technology, language and communication.