Tracey Emin, the "bad girl" of BritArt, has joined the "establishment". As one of the YBA's (Young British Artists) who found fame and notoriety after her controversial unmade bed won the Turner Prize in 1999, she claims now to have matured and is a member of the Royal Academy. Her work is being exhibited at the prestigious Venice Bienniale, an international art festival, which beings tomorrow (10th June).
Emin's chart is set for noon as her time of birth is not available. Born on 3.7.1963 in London, she is fast approaching age 44, bringing the Low Point of the 8th House and the whole chart/life, closer. This seems to resonate with the very personal and emotional works that are a part of her exhibition. Named the Abortion Watercolours, they have never been seen in public before.
Emin's chart has a slightly crazy, disjointed appearance. Although its orientation is unlikely to be correct, the image gives an impression of wide-spaced stepping out and a balancing act constantly in operation. With 2 red aspects, 3 green and 4 blue it does not offer a comfortable balance of colour for an artist who needs to work hard in order to perfect and refine. Her motivation, as indicated by the chart shaping, is to be restless, tangential, seeking/searching and following ever-new goals. Put this alongside the one complete Learning triangle that she has and an ongoing learning of how to express her creativity is a strong possibility. The media she works in is diverse and tangential - neons, embroideries, sculptures, drawings.
Her Cancerian Sun is strong by Sign at 10 degrees and reminds me of the homing/nesting needs of a Cancer Sun. Does the cosy, homely feel of her infamous tent, lit from the inside and embroidered with the names of all the men she had slept with, reflect something of this need for a home or base?
( Photo - artwork images)
Although I'm not particularly keen on her work, some of it I do like (yes,I like the tent; no I don't like the bed, which I've seen). There is one piece in particular. In 2005 her bronze sculpture of a small bird on a pole was installed outside Liverpool Cathedral. It is delicate and feminine. How it came into being in described thus on the BBC website:
"The Roman Standard - which features a small bird on top of a four-metre high bronze pole - is a tribute to the city's famous symbol the Liver Bird. The sculpture was commissioned by the BBC as part of their contribution to the art05 festival and Liverpool's year as European Capital of Culture in 2008. It stands outside The Oratory, in Upper Duke Street by the Anglican Cathedral. Emin said the sculpture, which cost the BBC £60,000, represents strength and femininity. The bird, which is the size of a sparrow, disappears when viewed from the front and only reappears as the viewer moves left to right."
Emin unveils her bird. Photo-BBC images