Raw Material 5: Tracey Emin

April 20, 2016


Emin, Tracey, I do not expect to be a mother

Photo One: Tracey Emin, Everyone I Ever Slept With 1963-1995, Appliquéd Tent and Mattress, http://www.saatchigallery.com Photo Two: Tracey Emin, I Do Not Expect, 2002, http://www.artinamericamagazine.com, Blanket Graffiti

It’s not what you inherit, but what you do with your inheritance (Tracey Emin, tate.org.uk)

Emin employs the lightness of traditional “women’s crafts”, like sewing, to explore what (Louise) Bourgeois classed as the “volcanic unconscious” which we only ever encounter in parts: “That’s why I use a lot of embroidery,” Emin explains. “I take this craft but I don’t treat it like a craft, but like high art. (Tracey Emin: Craft Work, http://www.independent.co.uk)


Photo: Tracey Emin, My Bed, 1998

Well-known for her confessional art, Tracey Emin reveals intimate details from her life to engage the viewer with her expressions of universal emotions. Her ability to integrate her work and personal life enables Emin to establish an intimacy with the viewer…By presenting her bed as art, Tracey Emin shares her most personal space, revealing she is as insecure and imperfect as the rest of the world (www.saatchigallery.com)

Within art therapy fibre, texture and story can be incorporated to make a variety of items: 

Book Covers, Sheets, Curtains, Purses/Bags, Tablecloths, Scarfs, Cloaks, Tents, Pillow/Cushion Covers, Veils, Quilts, Blankets, Clothing, Accessories, Upholstery, Aprons, Personal Altars, Baskets, Shrouds, etc.  

Fabric acts to conceal and cover objects and persons, while at the same time, disclosing them…The objects may be commonplace but the wrapping gives them a certain mystery, vitality, and seductiveness. Fabric is malleable. It lends itself to wrapping, draping, and swathing. It restricts direct access to the naked object, but it also has the ability to suggest, enhance, and draw attention to what it covers over and adorns ( Anne Hamlin, Freud, Fabric, Fetish).


Photo: Tracey Emin, Sleep, 1996, http://www.saatchigallery.com


Photo: Tracey Emin, There is A lot of Money in Chairs, Credit: David Sillitoe, The Guardian)

Tracey Emin admits that she is a product of her past, created with her experiences sewn into the fabric of her very being, much like her tapestries. As the onlooker, we’re encouraged to not be ashamed of what occupies the dark recesses of our minds; the skeletons in our closets and the insecurities to which we never gave a voice  (Morgan Meaker, The Art of Self-Indulgence: Tracey Emin).


Hamlyn, A. (2012). Freud, Fabric, Fetish. In J. Hemmings (Ed.), The Textile Reader (pp. 14-26). London: Berg Publishers.

Meaker, M. (2013). The Art of Self-Indulgence: Tracey Emin. Retrieved from http://www.londoncalling.com.

Tracey Emin: Craft Work. (2010). Retrieved from http://www.independent.co.uk

Tracey Emin Exhibited at the Saatchi Gallery. (2016). Retrieved from http://www.saatchigallery.com.

Ward, O. (2011). Tracey Emin: No Bedtime Story. Retrieved from http://www.artinamerica.com


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