A Quote by Tracey Emin

I've been making bronze sculptures for a long time. My sculptures are wholly unsuccessful and uncommercial. No one is even the remotest bit interested in them. So it's almost like my hobby.
Frank Gehry for instance likes to imagine his buildings as sculptures. I like to imagine my sculptures as architectural.
The size thing is not some gimmick or attention-getting trick but a genuine undercurrent of the work. Frank Gehry for instance likes to imagine his buildings as sculptures. I like to imagine my sculptures as architectural.
I have had sculptures cast in bronze, silver and aluminium. My drawings are all graphite or pigment ink and gouache on paper.
Many of my sculptures take a long time to make.
I think about my art works as paintings, because they refer to the history of painting. I also have to think about them as sculptures, because every part of the process is part of the project. They're sculptures because they play on the idea of what should be hanging in a gallery. In that sense they're also kind of ready-mades.
We say to the British government: you have kept those sculptures for almost two centuries. You have cared for them as well as you could, for which we thank you. But now in the name of fairness and morality, please give them back.
The thought of continually eating something like macaroni, spat out by machinery, fills me with fear and revulsion, so I make macaroni sculptures. I make them and make them and then keep on making them, until I bury myself in the process. I call this 'obliteration.'
I went to a quite macho art school in the 1970s, and while everyone was making hulking big sculptures, I was making things out of bits of paper.
Sculptures created from found materials like ice and thorns, driftwood, and even bleached kangaroo bones all presuppose that artistic design will yield to the cycles of time and climate, whether over an hour or a decade.
I have been taking every step toward the future every day through making many paintings and sculptures with my deep emotion hidden in my life.
That is the effect of my sculptures in the public domain: people are making contact with each other again.
Even though the museums guarding their precious property fence everything off, in my own studio, I made them so you and I could walk in and around, and among these sculptures.
I just feel like, unfortunately, I'm a person that has to be creative to live. Whether that's, like, painting or making sculptures or writing songs, sometimes I just feel like that's the only thing you can do.
I love my sculptures, and I was lucky I had them for 50 years because no one would look at them, and I really liked having them around.
I love my sculptures, and I was lucky I had them for 50 years because no one would look at them and I really liked having them around.
Time gives growth, it gives continuity and it gives change. And in the case of some sculptures, time gives a patina to them.
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