TRACEY EMIN CBE RA (BRITISH B.1963)
The Miracle Fisherman
1986
signed, dated and titled in pencil
monotype in colours on wove
image 40.8 x 36cm
framed
ARR

Note:

‘Emin’s Autobiographical confessions is always open to the public as the divide between art and life willfully collapsed.’ – Sensation: Young British Artists from The Saatchi Collection, Artists Biographies, Tracey Emin

When we consider the works of Tracey Emin, her widely known works, My Bed (1998), and The more of you the more I love you (1995) come to mind. Both embody her use of the installation as a medium to convey the intimate stories of her life. My Bed (1998), was a physical account of the artists life, during a four day period in her own bed.

Emin’s investment in printmaking as a medium, and this unique work, dates back to her awarded first-class degree in printmaking at Maidstone, prior to her admission to a painting course at the Royal Collage of Art in 1987. It was clear that artist had a true understanding of printmaking, and monotypes became an important part of her creative output. The rapid technique involved in making monoprints allows Emin to express herself with same immediacey as drawing. The medium lends itself to her characteristic texture and scattered hand giving the impression of a stream of consciousness and intimacy.The Miracle Fisherman brings medium to the forefront of our experience, representic a diaristic approach to story telling.

The Miracle Fisherman (1986), is a much earlier example of how much of Emin’s oeuvre is in some ways defined by narrative story. Storytelling is a principle theme within her works and this work is no exception. In this early monotype by Emin deliberately or not brings us to the theme of storytelling. The Miracle Fisherman exemplifies narrative story, at dates back to the earliest human examples of storytelling in the bible. The biblical story of The miracle fisherman is a biblical tale told by artists before her; Rubens Miraculous draught of fish (1610) and Raphael’s depiction in 1515.

Religiously, or not, The Miracle Fisherman, holds its place alongside other works such as Emin’s Disposition of Christ (1990), which too references not necessarily the role of religiosity or spirituality, but rather the power of storytelling. Whether Emin’s work makes direct conversation with these specific works, or rather comments on the use of printmaking as a medium in which to narrate is unclear. What is clear however, is that throughout Emin’s career, one which is very much still active, the role of medium and narrative often go hand in hand.

Provenance
Dreweatts & Bloomsbury 1759 London, Modern & Contemporary Prints, 03 Dec 2014, lot 180
Lyon & Turnbull, Edinburgh, Modern Made, 27 Mar 2019, Lot 277