Tracey Emin’s piece, ‘Hate and Power can be a Terrible Thing’ (2004) illuminated the room,
casting the other works in shadow at the Tate Modern’s Energy and Process exhibition. Situated in the room entitled ‘Homeworkers’, curated by Ann Coxon and
Valentina Ravaglia, was a series of textile-based works all produced by female
artists, playing on the outdated idea of female domestic work and gender
stereotypes.
Originally, Margaret
Harrison’s piece, ‘Homeworker’ (1977)
was supposed to be the main attraction of the room, commenting on the exploitation
of female labour in resent pasts. However, Emin’s piece completely overpowered
the room, grabbing everyone’s attention. What first drew me in was the ironic
juxtaposition of unnerving words such as,
“THERES NO ONE IN THIS ROOM WHO HAS NOT THOUGHT OF KILLING” (Emin, 2005, Hate and Power can be a terrible thing),
which were stitched onto a pink
quilt, an object usually used to comfort it’s user. Emin’s angered lines
stitched over floral patterns, which usually stimulate tender thoughts, further
employed this contrast in mood.
As viewers we can pick up on this passionate fury
through error in grammar, for example, “GUESS
WHAT THE WORSE I COULD DO IS BETRAYE” (Emin, 2005, Hate and Power can be a terrible thing). Here there is a lack of
punctuation and a spelling mistake, “BETRAYE”,
which makes it hard for us to comprehend what Emin is trying to communicate. These
two points could signify that in her blind rage Emin was completely consumed by
her emotions and unaware or careless of any grammatical issues.
The heavy use of text was
present in both Emin and Harrison’s work, a compelling attribute that connects
visually art with other art forms, something that I am very keen to work with
in my own practise. Interestingly, Harrison opted for more handwritten text,
perhaps to further install the idea of hard work, harmonising well with her
repeated illustrations of hands – a “hands on” approach. Alternatively, Emin
stitched each letter into the quilt. You can just imaging Emin sitting there
with a needle, thread and murderous look in her eyes as she stabbed wound upon
wound into the quilt in an attempt to exert all of her negative energy. ‘Hate and Power can be a Terrible Thing’
certainly sparkled up a multitude of thoughts within me, especially when
compared to ‘Homeworker’ as a more
recent, contemporary piece. The works are similar in medium and content, as
both are trying to express negative feelings towards certain injustices, but
with separate moods. Whilst Harrison uses hand-scripted text, browns and reds I
feel a sense of militant, political purpose, perhaps relating to feminist
posters, and Emin uses softer, gentler aesthetics, producing an uncomfortable,
ambiguity due to all of her piece’s clashing attributes. Perhaps, it relates to
the stories that inspired the piece, posing as something safe and inviting, but
when the viewer acquaints themselves with it, it becomes something monstrous; ”A mother who Reiked [sic] of Power CRAZY
Hate and Fear”(Emin, 2005, Hate and
Power can be a terrible thing).
Bibliography
Exhibition Visit
Emin, Tracey. Hate
and Power can be a Terrible Thing, 2005, Tate Modern, Energy and Process.
