Tracey Emin's "Exorcism of the Last Painting I Ever Made" (1996) is a seminal work that stands out in her career for its raw autobiographical intensity and its unique performative aspect. This installation was created at Galleri Andreas Brändström in Stockholm, where Emin locked herself in a room for three weeks, working naked to confront her emotional and psychological barriers to painting. The process was visible to the public through fish-eye lenses embedded in the walls, allowing viewers to witness Emin’s intense and personal artistic journey (Christie's) ('Faurschou').
The room itself became an all-encompassing installation filled with 14 paintings, 78 drawings, five body prints, and numerous personal items, including a bed and various other pieces of furniture. This setting allowed Emin to exorcise her fears and traumas associated with painting, a medium she had abandoned six years prior following two abortions and a period of profound personal distress. This work marked her attempt to reconcile with painting, using her body and experiences as both the subject and the medium of her art (Christie's) ('Faurschou').
"Exorcism of the Last Painting I Ever Made" also serves as a poignant critique of the traditional roles of women in art history. Emin's decision to work naked in a confined space while being observed challenges the conventional portrayal of women as passive subjects in art, reclaiming her agency as both the artist and the model. The artworks created during this period draw inspiration from and appropriate the styles of male artists like Egon Schiele, Edvard Munch, and Pablo Picasso, yet they are deeply infused with Emin's personal narrative and emotional turmoil (Christie's) ('Faurschou').
The installation blurs the line between performance art and traditional painting, creating a dynamic interplay between the process and the final product. Emin's work during this period is characterized by its visceral and expressive quality, reflecting her ongoing exploration of personal trauma, love, loss, and identity. This project not only marked a turning point in her artistic practice but also set the stage for some of her most famous works, such as "My Bed" (1998) (Christie's) (Saatchi Gallery »).
"Exorcism of the Last Painting I Ever Made" is a powerful example of Tracey Emin's ability to transform her personal experiences into compelling and universally resonant art. It stands as a testament to her resilience and her commitment to using art as a means of self-exploration and emotional expression ('Faurschou') (Saatchi Gallery ») .
