rothko? monk, iwas miss monk, i think, you know. 1983 rothko? monk, iwas miss monk, i think, you know. 1983 or rothko? monk, iwas miss monk, i| think, you know. 1983 or whatever, for, i was many monk. i wrote my thesis on monk. i emulated him, i made this really big screening with wooden frames around them, you know, i was totally in love with him. i loved emotionally traumatised out. i responded to it. and figurative art as well. that was the main thing. tracey, your next big cultural evidence is musical. you re the monk david barry s whole ethos and how he made things and everything meant different and be outside but you don t have to be beaten to that, you could use it and be creative. it was not about pop. it was about being ok about being outside. and
do you know what? do i want to no, i don t think so. and i think my willpower kicked in and because i had accepted this it meant that i could with the concentrate on life, that make sense. i d make something to live for. something very important to therefore. or i could die quite happily, do you see? so because i had accepted that it meant i didn t have to fight to death which meant i could actually concentrate or live. which meant i could actually concentrate or live. you ve recently shown work concentrate or live. you ve recently shown work alongside concentrate or live. you ve recently shown work alongside paintings - shown work alongside paintings worked by one of your other great artistic heroes. was he already in influence at that time you saw the rothko? a, ~ influence at that time you saw the rothko? a, ~ ., , influence at that time you saw the rothko? a, ~ .,, ~ ,, influence at that time you saw the rothko? ~ ~ ,, ~ rothko? monk, iwas miss monk, i think, ou rothko? monk,
it vibrate. and i did know anything about rothko, and i didn t pursue anything about rothko afterwards. it was only later when i did find out about rothko and read about rothko i thought, oh, my god. how. and then i realised something very early on that art, to art should resonate. should make you feel. it is not a picture, it is not a thing, it is not an object, it is a true entity. a true thing that has energy that comes from somewhere. that is what makes it art. but comes from somewhere. that is what makes it art- makes it art. but if you talk to eole makes it art. but if you talk to people in makes it art. but if you talk to people in the makes it art. but if you talk to people in the street makes it art. but if you talk to people in the street and - makes it art. but if you talk to people in the street and ask. makes it art. but if you talk to i people in the street and ask who tracey emin as there were probably associate you with my bad or the other work that handed calle