February 20, 2026

Bishop Richard Harries

3 minutes

Good morning. There was a time in the early 2000’s when you could not open a paper without seeing a photo of Tracey Emin at a party, glass in hand, staring at the camera. A moving interview with her in The Guardian in connection with her major new show at Tate Modern which starts next week reveals a very different Tracey Emin. She talks about the terrible cancer she has suffered, with many of her body parts being removed, so that life now is lived with great difficulty. At the time she thought she was going to die and then ‘Whoever they are’, she said to Charlotte Higgins the interviewer, glancing heavenwards, ‘they said “I don’t think she is all bad. Let’s give her another go, see what she can do”’ So she gave up alcohol and her 50 cigarettes a day and has since then thrown herself into her art - not only her own art but helping young artists and others in her home town of Margate. As she said ‘I have spent a lot of my life being sad, nihilistic and punishing myself mentally-and drinking and smoking. And then I realised: I could have my time back again.’ No wonder her new exhibition is called ‘Tracey Emin: A Second Life.’

Lent, which began yesterday is a reminder that we do not have to wait until death stares us in the face to have a second life. Notwithstanding regrets and failures every day is a new gift, a new beginning, a time to focus on what really matters to us. Tracey Emin says about those earlier years in the 2000’s ‘God, was that the shallowest level of myself that I could ever be?’ There is a shallow side and a deeper side to all of us. That deeper side brings into focus what we really want to do with our life, what kind of person we really want to be.

If you visit Liverpool’s Anglican Cathedral, the largest religious building in the country, built between 1904 and 1978, it is difficult not to be overwhelmed by its immense space and monumentality. But as you enter, just above the West End Doors, there is a total contrast-a permanent pink neon installation with the words ‘I felt you and I knew you loved me’ written in Tracey Emin’s own hand.

Tracey Emin burst on the scene in 1988 with a work of art consisting of her unmade bed surrounded by condoms, blood and general detritus and people still associate her with this. But I like to think of her devoting herself to making new art and helping others in Margate, and that simple, pink neon installation in Liverpool Cathedral with its words ‘I felt you and I knew you loved me.’

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