Tracey Emin, ‘Fighting for Love’, 1998, Alpha 137 Gallery
Tracey Emin, ‘Fighting for Love’, 1998, Alpha 137 Gallery
Tracey Emin, ‘Fighting for Love’, 1998, Alpha 137 Gallery
Tracey Emin, ‘Fighting for Love’, 1998, Alpha 137 Gallery

Pencil signed and numbered from the limited edition of 300. Rare vintage 1998 work. Tracey Emin's manifesto is the basis of her best works - the raw vulnerable anger and sexuality that she channels through her word pieces. Taking the form of a hand-written letter, with handwritten corrections and crossed out text, "Fighting for Love" is a a perfect example of Emin's raw, sexually charged vision - a manifesto that resonates in all of her best works, from neons, to sculptures to her needlepoint pieces. This pencil signed and numbered offset lithograph of a letter reads:
Fighting for Love -
When the fighting starts - I know that I have lost - Every hole in my body is bleeding - my nose my cunt - my eyes are red now from all the tears - I'm clutching my stomach, holding onto myself - Trying to stop my shit from spilling onto the floor - I am all wrapped up in my own pathetic lonelly (sic) mess - Desperate to feel loved again I can't eat - I can't sleep - my mind jumps from a grinding numbness - to some crazy fucked up out of controll (sic) Dog like hell
Thats (sic) how it is to live without Love.

“No-one has more power to make us feel utterly desperate, humiliated and enraged than someone we love. In this apparently spontaneous note Tracey Emin reveals things we don’t normally say to other people, and hardly even admit to ourselves. The words are specifically her own, but the feelings might secretly be our own. We too feel desperate, ready to spill all over the floor. Though no-one else might ever know this about us.

Loneliness is the feeling that something central to your experience will not be treated sympathetically and with empathy by other people. We long to be understood; we yearn to be accepted - even (in fact especially) for the aspects of our own nature that are quite disturbing.

The writing is scrawled on the page; it takes a huge risk - exposing all this to the eyes of stranger. And yet we don’t recoil in horror. In fact, we respond with recognition.”

— Alain de Botton & John Armstrong
Pencil signed and numbered from the limited edition of 300.
This work is framed. Not examined outside of framed but appears to be in excellent condition.
FRAMED: approx. 14.25 inches x 11 inches x 1 inch
SHEET: 11.75 x 8.25

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Signature: Pencil signed and numbered on the front from the edition of 300.

About Tracey Emin

A prominent member of the Young British Artists (YBAs), Emin works in a wide range of mediums, including film, painting, neon, embroidery, drawing, installation, and sculpture. Her work is intensely personal, revealing intimate details of her life with brutal honesty and poetic humor. She has spoken of “the narcissism behind what I do—the self, self, self—and how difficult it is for me to really share things, even though I think I am sharing all the time.” This paradoxical approach—at once audacious and confessional, narcissistic and self-deprecatory—earned Emin a nomination for the Turner Prize in 1999. Though she did not win, Emin received significant acclaim for her installation titled My Bed, which featured the artist’s unmade bed surrounded by personal items (from slippers to empty liquor bottles, cigarette butts, and condoms), exploring the allegorical qualities of a bed as a place of birth, sex, and death.

British, b. 1963, Croydon, United Kingdom, based in London, United Kingdom

Solo Shows

Tracey Emin — The Memory of your Touch
London, UK,
The Last Great Adventure is You
São Paulo, State of São Paulo, Brazil,
You Don't Believe in Love But I Believe in You
London, UK,
Tracey Emin - The Vanishing Lake
London, UK,
Those who suffer Love
London, UK,
When I Think about Sex...
London, UK,
You forgot to kiss my soul
London, UK,
My Major Retrospective 1963-1993
View Artist's CV