{"id":2316,"date":"2026-01-27T13:37:31","date_gmt":"2026-01-27T13:37:31","guid":{"rendered":"https:\/\/olgaszynkarczuk.com\/?p=2316"},"modified":"2026-01-27T13:37:31","modified_gmt":"2026-01-27T13:37:31","slug":"tracey-emin-bbc","status":"publish","type":"post","link":"https:\/\/olgaszynkarczuk.com\/pl\/tracey-emin-bbc\/","title":{"rendered":"TRACEY EMIN BBC"},"content":{"rendered":"

PAINTING IS ABOUT WAITING<\/strong><\/p>\n\n\n\n

But, no, what it is, is that I can have a canvas out for six months. I just do one wash on it, and I just leave it for six months, and then I’m working on another one, and then I come in and then just do some mad, chaotic drawing on the wash. Then I might write something on another canvas, then I might actually completely paint over another one. So, what it is, is when you have space and time, painting, a lot of it, people think is about just the activity of painting. But it’s not. It’s about waiting and looking and letting the painting come to the surface, letting the painting do its own thing, letting the painting collect its own energy.<\/p>\n\n\n\n

MEN CAN WOMEN CAN’T<\/strong><\/p>\n\n\n\n

And museums, you know, why would a museum give a wild child a show? You know, someone who’s not taking themselves, appears not to be taking themselves seriously. Why would they? You know, the drinking, the rock \u2018n\u2019 roll-ness, how I looked as well. That was another thing. People didn’t like it. That I look sexy and I look good. Why not? Nobody talks about Jeff Koons and his with his tight balls in his nice pink suit or whatever. You know, Jeff’s a really cool person. You know, men could do it. Men can have that swagger.<\/p>\n\n\n\n

TENT<\/strong><\/p>\n\n\n\n

When I made my tent, 1995, I remember people didn’t necessarily take it seriously. There was all these cartoons, you know, saying, sort of like a…you know, a little pointed tent saying Tom, Dick and Harry or whatever, and everyone just thought it was about sex or some boasting prowess of how many people I’d slept with. And I said, when I made that tent, each name that I sewed on that tent was like carving out tombstones or gravestones. And the whole point of the tent was that people were supposed to go into the tent, read who I’d slept with, and then come out and think about who they\u2019d slept with. And why, and what level of intimacy and different things. Because if the tent was around now, it would have a completely different meaning.<\/p>\n\n\n\n

THE BED<\/strong><\/p>\n\n\n\n

The bed itself has become a national treasure of sorts. You know, the bed is something which I’m happy to show in other exhibitions, in museums and things if I can, but it can only be out for a certain amount of time, daylight, because all the sheets and everything’s so fragile. It’s like a time capsule of a woman from the 90s. There’s things on it now which just don’t even exist anymore.<\/p>\n\n\n\n

HER BODY<\/strong><\/p>\n\n\n\n

I think the problems I have looking in a mirror. I’ve always had, I don’t think it’s a new thing. I think it’s a lot of women that suffer from this and from when I was young I was really thin, you know, and, and I find now being normal difficult. But I know it’s keeping me alive and keeping me well. So if I was to suddenly be really thin or something, then I’ve got big problems, because last time was really thin I had six months to live. And that’s not a good look, is it?<\/p>\n\n\n\n

THE ULTIMATE SEAL OF APPROVAL<\/strong><\/p>\n\n\n\n

The ultimate seal of approval from the art world is the 90,000 people that just went to see my last show. That’s the ultimate. So the Turin Shroud is not the Turin Shroud, if no one goes to see it, it’s just a bit of old cloth. My paintings, or my art, when people go to see them, young people, old people, mixture of people, I’m an artist. To be an artist, part of that is, is a response from other people looking at my work. And that is the seal of approval. That my art has a reason for existing.<\/p>\n\n\n\n

LEGACY<\/strong><\/p>\n\n\n\n

My life line is so long it goes all the way around. So it’s like I’m going to live. Live almost forever. Live to at least 110, apparently. So what I’d like is the memory of me to live with art and people…And this place, when I die, will be a museum. The house that I’m doing at the moment will be an art museum for other people’s art. I’ve got the art school that I’ve done, I’ve got the TEARs, I’ve got the foundation. Because when I thought I was going to die, I thought, oh my God, am I just going to be…I don’t want to be remembered as just being a 1990s mediocre artist.<\/p>\n\n\n\n

TEARS OF BLOOD<\/strong><\/p>\n\n\n\n

I wanted people to see the bleeding. It looks like tears of blood. So I think a lot of us cry deeply inside. I think a lot of us cry tears of blood and I think the world at the moment, I think a lot of us are crying. There’s a lot of tears and a lot of blood. And I think that that work also represents a feeling that a lot of people could relate to right now.<\/p>\n\n\n\n

Being a woman right now<\/h2>\n\n\n\n

And now in America, women are losing their rights daily, daily, daily. Women in Iran are suffering, women in Afghanistan are suffering, for being women, for no other reason but just being female. And I think now is a time where there has to be a greater unity and a greater resilience and a greater fight for women in just achieving everything on a daily level,<\/p>\n\n\n\n

Would you say there’s been a time where resilience has saved you?<\/strong><\/p>\n\n\n\n

Yeah, 100%. I always say this thing, a lot of women have ships and boats named after them, but very few women own them. I own my own ship.<\/p>\n\n\n\n

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TRACEY EMIN SEX AND SOLITUDE INTERVIEW<\/strong><\/p>\n\n\n\n

\u00a0there wasn’t room in the Nineties for emotional art at all. Whereas now there is so much need for emotional art, people need it more than ever, and I don’t just mean art people or us, the people in the street need to, who don’t know anything about art, need to connect. And yesterday we went to the Beato Angelico,<\/p>\n\n\n\n

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