Emin, considered one of Britain’s best-known visible artists since she burst onto the scene within the late Nineteen Nineties, has created a six-metre lengthy bronze determine for Jupiter Artland.
It is claimed to symbolize “a different narrative” on a lady’s place in nature, in comparison with conventional feminine nude sculptures.
Emin’s exhibition, her first in Scotland for 14 years, is described each as “an expression of love and hope” and “an unflinching look at pain, tenderness, longing and recovery”.
The show, which will run from May 29 until October 2, is also said to “address the power and fragility of the human form”.
Echoing her well-known 1999 present on the Tate in London, Emin’s personal mattress seems as a “recurring motif” within the new exhibition.
Most of the work in the exhibition, staged across Jupiter Artland’s various indoor gallery spaces, was created over the past two years at Emin’s studio in Margate.
Jupiter Artland has attracted more than one million visitors since it opened in 2009. More than 30 artists have created work for the 100-acre site so far.
Emin stated: “The exhibition really came about after Nicky and Robert saw my work at White Cube (gallery, in London).
“They’d liked my work for some time and were looking for a piece of my work for the sculpture gardens here and thought this particular one was perfect, so I came up and chose a space for it.
“Their philosophy is really lovely, generous and works on so many different levels.
“The whole place is amazing. It makes art really accessible, but in a cool and sophisticated way.”
Originally due to work with Jupiter Artland in 2020, Emin’s collaboration was delayed by Covid and a cancer diagnosis a few months into lockdown.
“I just about spent in months in mattress restoration from surgical procedure. I couldn’t do any work in any respect. It was a very tough time.
“But as it was during lockdown as I felt as if I didn’t really miss out of anything. My friends didn’t have to see me suffering or what I went through so in a lot of ways I was very lucky.”It was a slow process getting back to work. I kept thinking I was ready and would start painting, but would be wiped out by it all.
“But now, all I wish to do is paint. I can’t wait to get again in my studio. I solely do issues that I wish to do and after I need do them.”
Emin’s final exhibition in Scotland was a retrospective present on the Scottish National Gallery of Modern Art in Edinburgh.
She stated: “I had such a good time here with that show, it was brilliant. I loved being in Edinburgh, I loved working with people on the show, I loved the museum – the whole energy of it was really positive.”
Emin, a supporter of David Cameron’s Westminter Government, was among more than 200 figure from the cultural and sporting world to urge Scots to vote against independence in 2014. Now she is a fierce critic of the Conservative Party and her views on Scottish independence have mellowed slightly.
She said: “Scotland feels like such a different country to me – from the achitecture and the landscape to the way that people are.
“I was really opposed to independence. Now, when I look at Britain i feel ‘fucking hell, I would leave if I could.’ But Scotland can’t leave because it can’t print its own money. How is it going to survive financially? It would have to be part of Europe. It would need to have a European currency.”
Earlier this year Emin demanded that an artwork she gifted to the UK Government during Mr Cameron’s tenure be taken down, over what she described as “shameful” stories of events at Downing Street throughout lockdown.
Emin said: ‘I don’t think this applies in Scotland because there is still free education, but if you come from a working class or poor background now you just stand no chance. When I was a student 40 years ago I got grants and scholarships. People like me would stand no chance.
“It’s notably laborious within the arts as a result of this Government does not recognise them or acknowledge that they exist. In 30 or 40 years time Britain is not going to have any tradition.”You judge a country by its culture, but we are going to be way behind the times. It’s going to be awful. If you have an arts minister that knows about art we’d have a better chance, but if you have an arts minister who can’t wait to be health secretary then we’ve no chance.
“My priorities to champion are training and the humanities. If I’m judging the nation towards training and the humanities it’s abysmal.”
Born in London in 1963 and brought up in the seaside town of Margate, Emin burst onto the British art scene in the late 1990s and has remained one of its most high-profile artists ever since.
Emin: “I believe galleries and artwork are way more accessible now than they had been 40 years in the past. Regardless of what anybody thinks of my era and what we did or did not do, I believe my era inspired a youthful era to benefit from the arts much more.