ARTIST: Tracey Emin born 1963
MEDIUM: Monoprint on paper
DIMENSIONS: Image: 582 x 811 mm
COLLECTION: Tate
ACQUISITION: Presented by the Patrons of New Art (Special Purchase Fund) through the Tate Gallery Foundation 1999
REFERENCE: P11565

Emin’s piece ‘Terribly Wrong’ is interesting to me because of her thoughts around the artwork. She lets herself depict traumatic moments of her life, some quite revealing. Another reason that I chose this specific piece is because of the simple and abstract way in which it is composed. It leaves much in the hands of the imagination of the observer, and my interpretation might differ greatly form any other person’s interpretation. Which is what I find intriguing about it, that because of everyone’s own experiences, traumas and emotions it will be differently interpreted.

“Emin places herself centre-stage in
her work, telling intimate stories about her life. ‘It’s like a cleansing of my soul.
It’s not just getting rid of baggage or carnage. It’s not that simple. Something actually happens within me.’

Several of the works refer to traumas, such as having an abortion or splitting up with her boyfriend. These painful events are conveyed with brutal simplicity and candour but, as she says, ‘Being an artist isn’t just about making nice things, or people patting you on the back; it’s some kind of communication, a message’.

 

For me, aggression, sex and beauty go together. Much of my work has been about memory, for example, but memories of violence and pain. Nowadays if I make a drawing I’m trying to draw love, but love isn’t always gentle … Being an artist isn’t just about making nice things, or people patting you on the back; it’s some kind of communication, a message.
(Quoted in Morgan, pp.59-60.)” (tate.org.uk)