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In *Emin Love Is A Strange Thing*, Tracey channels a candid, diaristic approach that recalls the emotional directness of contemporary British confessional art. Working with text-forward mark-making and an intentionally raw finish, the artist treats language as image—allowing gesture, erasure, and uneven pressure to register as evidence of lived experience. The composition reads like a private note made public, where vulnerability becomes a formal device as much as a subject. The work’s significance lies in its cultural immediacy: it speaks to the way intimacy is performed, archived, and reframed in an age of relentless self-disclosure. At once personal and universal, it stands as a sharply observed meditation on desire, grief, and romantic mythologies.
In 1993, in the former London borough of Bethnal Green, Emin and fellow artist Lucas opened a store where they sold their own handmade items. One of Emin’s earliest exhibitions took place in 1993–94 at the influential White Cube gallery on Duke Street (1993–2002). The show, ironically titled “My Ma...
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