Tracey Emin, the provocative artist who once captured public attention with her unmade bed, is navigating a profound transformation in both her art and personal life. After a brush with death and a decade of introspection, Emin is gearing up for her most extensive exhibition to date at Tate Modern, titled “Tracey Emin: A Second Life.” The exhibition not only showcases her storied career but also reflects her resilience following a harrowing battle with cancer, marking a significant chapter in her artistic journey.
A Journey to Recovery
The setting is Emin’s Georgian home in Margate, where she resides with her two cats, Teacup and Pancake. The artist, known for her vibrant personality and candidness, has adopted a more measured pace after overcoming significant health challenges. Diagnosed with squamous cell cancer in 2020, Emin underwent extensive surgeries that fundamentally altered her life. “I had to have my bladder removed. I had a full hysterectomy. I had my lymph nodes removed, half my vagina removed, my urethra removed, and part of my bowel taken out,” she recounts, her tone steady yet laden with the weight of her experiences.
Despite the physical toll, Emin’s spirit remains unbroken. She speaks openly about her health struggles, including the realities of living with a urostomy, which requires her to manage a collection bag. “Life without a bladder is pretty heavy,” she shares. “It can really get you down, because you can’t be free. Nothing can be improvised.” Yet, amid the challenges, she finds a newfound appreciation for life and art.
A New Artistic Vision
Emin’s latest exhibition at Tate Modern is a testament to her resilience and artistic evolution. Spanning her 40-year career, it is not merely a retrospective; it is a reflection of her life’s journey and the trials she has faced. The show features works that explore her body and experiences, including a poignant series of photographs documenting her post-operative form alongside images from her youth.
“I’m not calling it a retrospective because the first work in the exhibition is ‘My Major Retrospective 1963-93,’ made when I was just 30,” she explains. “It consists of photographs of paintings I made and destroyed, which speaks to my turbulent relationship with art.” Her installation piece, “My Bed,” featuring dishevelled sheets and personal debris, remains emblematic of her self-exploratory style that once stirred controversy.
Emin’s candidness extends beyond her physical form; she also addresses the societal issues that have shaped her art. Reflecting on her past, she recalls the misogynistic backlash she faced for her emotionally charged works. “Back then, a woman, especially a working-class woman, making art about her emotions was not seen as respectable,” she remarks. “Now, I think the world has caught up with me.”
A Commitment to Community and Change
In addition to her artistic pursuits, Emin is dedicated to uplifting her local community in Margate. With a philanthropic approach, she has invested in affordable housing for artists and established a local art school, fostering creativity and collaboration. “Art and culture are making a difference to the struggling local economy,” she asserts, highlighting the role of Turner Contemporary and local initiatives in revitalising Margate.
However, Emin remains acutely aware of the political landscape, particularly the rise of far-right ideologies. She expresses deep concern over the Reform Party’s influence in local governance, which has brought a wave of nationalism to the area. “If the far right gets in, we are doomed,” she warns. Emin’s desire to reclaim symbols like the Union Jack reflects her commitment to inclusivity and her belief in the power of art to challenge narratives of exclusion.
An Unyielding Spirit
Emin’s reflections on her past reveal a complex interplay of vulnerability and strength. She recalls the trauma of her youth, including experiences of sexual violence, and how they shaped her understanding of womanhood. “When I see a 13-year-old girl now, I think, ‘Imagine someone having sex with that person. What the fuck is wrong with them?’” she says, highlighting the ongoing issues of grooming and abuse that pervade society.
Yet, amid these revelations, Emin finds solace in her art. “Art is probably one of the last good things we’ve got left as human beings,” she asserts, advocating for a return to slower, more thoughtful engagement with creativity in an age dominated by technology. “We need to remind ourselves that we can be good-spirited rather than corrupt.”
The artist acknowledges her regrets, particularly during a period she refers to as her “B-list years,” when she prioritised socialising over her art. “I let myself get blown around, and that was silly,” she reflects, emphasising the importance of self-care and authenticity in her life.
Why it Matters
Tracey Emin’s journey is a powerful reminder of the resilience of the human spirit. Her ability to confront her past, embrace vulnerability, and advocate for social change through art epitomises the transformative power of creativity. As she prepares for her exhibition at Tate Modern, Emin not only celebrates her artistic legacy but also inspires a new generation to find strength in their own struggles. In a world rife with challenges, her story serves as a beacon of hope and a call to action for community and compassion.
