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拍品專文
Chinese Girls, with its text 'SOMETIMES I WANT TO HAVE CHILDREN/not my own but other people's children/Chinese people's children' is another installment in the oeuvre of one of the world's most unique self-portraitists. Tracey Emin burst onto the art scene with displays of every part of her life, public and private. She laid herself open for all to see and comment on.
As time has moved on and as the public have become more aware of her life, she has reached the stage when child bearing and adoption is at the forefront of her mind and art. This is not just child bearing in its essence, personal and inherently emotional: Tracey Emin's "writings" are also heavily influenced by politics, observations and even criticisms of other people and their regimes. In Chinese Girls, the artist comments on the explosion and subsequent attempts to control the population growth of China. Her focus on children here is not just localized to her own experiences, as it has been in most of her earlier, graphic and tortured work; it has now taken on a more global focus. Her statement reiterates the fact that the plight of children, not just in China, is a focus for the adult population of the Earth. Even the use of the Appliquéd blanket serves as a statement. Although this is a medium she has used for a long time, most famously in the work entitled Everyone I Have Ever Slept With, appliqué also has an association with its use in making something that is secure and comforting for a child.
As time has moved on and as the public have become more aware of her life, she has reached the stage when child bearing and adoption is at the forefront of her mind and art. This is not just child bearing in its essence, personal and inherently emotional: Tracey Emin's "writings" are also heavily influenced by politics, observations and even criticisms of other people and their regimes. In Chinese Girls, the artist comments on the explosion and subsequent attempts to control the population growth of China. Her focus on children here is not just localized to her own experiences, as it has been in most of her earlier, graphic and tortured work; it has now taken on a more global focus. Her statement reiterates the fact that the plight of children, not just in China, is a focus for the adult population of the Earth. Even the use of the Appliquéd blanket serves as a statement. Although this is a medium she has used for a long time, most famously in the work entitled Everyone I Have Ever Slept With, appliqué also has an association with its use in making something that is secure and comforting for a child.