C'mon Emin

It is common knowledge that Tracey Emin works from own experiences, things that have happened and even shaped her life. She is a ballsy, angsty person to say the least. Having read multiple interviews with the artist, it is clear that these aforementioned life experiences have made her into the shouty, sweary and no- nonsense creator she is today.

These are just a few examples of the work evolving around Emin's own experiences (top left: My Bed, top right: You Should Have Loved ME, bottom left: Everyone I Have Ever Slept With, bottom right: Suffer Love XXI).

However these weren't the pieces that caught my attention particularly. A work called Feeling Pregnant, was created in six separate parts, and it is II that I am looking at in terms of aesthetics; the composition and presentation of work. I'm researching this in comparision to m own work, and hopefully pick up ideas or influence in terms of the way my work will be presented for final exhibition.

It has a very clinical look instantly, the use of white background allows the work to almost sink into the background, whilst the colour of the child's shoes pop out and ask for attention.

It is for me to look into whether I would personally want my work to look so straight forward and very much aware that it is in a gallery space is this work is, or whether my idea of the domestic environment is more overwhelming and of further importance.

Background:
Told by a doctor that she was unlikely ever to bear children, she nevertheless fell pregnant and had an abortion in 1990. Following this traumatic episode she destroyed all her previous work and stopped painting for several years. [1]