Stark, unsettling presence of neon text, sewn appliqué that rejects nurture and assigned, female roles, a bed covered in blood and used condoms – the site of the artist’s emotional trauma – and monoprints depicting a fragile, wavering body.  Tracey Emin’s artwork is accused of relying on shock value. She makes work that is non-archival, throwaway pieces of art in various mediums – drawing, painting, sculpture, film, photography, neon text and sewing.  She displays herself in front of you, her own biography and confessions. She was the enfant terrible, bad-behaviour, drunk-on-television member of the Young British Artist movement in-and-around London in the late 80s and early 90s.  Her work began with t-shirts and ash trays with Damien Hirst’s face glued to the bottom. This kind of work, curators and writers say, is taboo.  They are saying, the sexual assault and rape you went through don’t matter.  You want attention.  We don’t want to hear about your abortions.  Tracey Emin’s work isn’t an abstract idea – it is her physical body in front of you that has been hurt and abused. 
Header : “Young Starle”. 2016. by Me.  See more of my work in the gallery. 
I Know I Know I know. 2002. Tracey Emin. 



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