Summary
Highlights
Tracey Emin discusses her feelings about potentially not winning the Turner Prize. She jokingly mentions being hungover and then flying to Brazil, indicating that the outcome won't significantly affect her.
Emin highlights the limited exhibition opportunities for British artists in the UK compared to abroad. She notes the scarcity of museums and public contemporary art spaces, which leads to long waiting periods between London shows and the pressure for each subsequent exhibition to be grander.
Tracey Emin explains that 'My Bed' is literally her bed, with parts of it belonging to her personally. She describes its dual interpretation: profound loneliness akin to someone found dead after weeks, and a scene of wild, frenzied sex. She expresses embarrassment about family seeing it, noting that art can evoke strong feelings, sometimes repulsive, but from a distance, it appears beautiful and intimate.
Emin discusses how her relatives, especially those unfamiliar with her work, might react to 'My Bed.' She believes they will view it as a celebration, despite any potential discomfort with the explicit nature of her art, acknowledging that media portrayals often exaggerate the controversy.
Emin recounts learning about her Turner Prize nomination days after it happened. She initially hesitated to accept due to a stressful year and concerns about intensified media scrutiny. She admits that while media exposure is great for some artists, it could make people 'sick' of her and her art, potentially leading to early retirement. She also mentions the internal conflict for artists who say they don't care about winning but secretly do.
Emin believes the £20,000 prize money is not enough and suggests it should be £100,000, with 40% dedicated to art-related charities, such as those supporting the homeless, hospices, or HIV/AIDS research. She emphasizes using the money for social good.
Emin discusses her 'tent' artwork, which Charles Saatchi purchased on the secondary market. While she disapproves of this practice, she acknowledges the positive exposure gained from its display in his exhibition. She doubts Saatchi owns any of her other works, including 'My Bed,' suggesting he wouldn't display them in his collection, despite his extensive buying habits.
Emin describes her artwork dedicated to her Uncle Colin, who died in a tragic car crash in 1982. The piece includes personal mementos like a newspaper clipping of the crash, his cigarette packet, a small seagull (which he loved), a photo of his first car, and a letter she wrote to him after his death. She created the work as a memorial and a way to grieve, allowing his memory to endure through conversation about the piece.
Emin feels most successful and gets the most immediate satisfaction from making films. She appreciates the fluidity of the medium, allowing her to write scripts, direct, and create numerous drawings quickly. She mentions her upcoming projects include writing a book, directing a screenplay for television, and a novel, feeling these mediums cause her less pain than physical art installations which are time-consuming and draining.
Addressing potential criticism of her drawings as 'scribbles,' Emin asserts that she has invested significant time in learning to draw, enabling her to create freely. She describes her unique technique: drawing on the back of paper laid over ink on a glass sheet, resulting in two mirrored drawings, one positive and one negative.
Emin discusses her unexpected fame from being shown drunk on television, ranked highly in 'best moments of television.' She connects this to an artwork exploring memory loss due to excessive drinking, inspired by her mother's concerns after Emin broke her finger. The piece highlights the instability of reality when constantly drunk.
Emin points to a photograph of herself from the Sunday Times, noting its apparent egotism. However, she explains that the accompanying text reveals the difficult circumstances around the photo shoot: a tube strike, crying in the rain, hunger, and profound loneliness. This illustrates how her work transforms personal struggles into art, finding something good in life's 'mock-ups.'
Emin defends the 'raw' and 'emotional' nature of her art by stating that it mirrors life itself, not an idealized version of it. She emphasizes the importance of expressing emotions and avoiding keeping secrets, which can lead to suppression and unhappiness.
Regardless of winning, Emin values the Turner Prize for the opportunity to collaborate with high-level professionals at the Tate Gallery. This experience elevates her artistic practice and standards. She also jokes about the gallery misstating her age, asserting her pride in reaching her current age.
Emin concludes by listing the general price ranges for her various artworks: drawings at £1,500-£4,000, neons at £8,000-£20,000, and blankets at £25,000-£30,000. She notes that these larger pieces, like her bed, often require a more monumental and classical space to be fully appreciated, implying they are harder to sell.