but it was quickly liberated. president zelensky welcomes the us decision to supply kyiv with cluster bombs — a move president biden has defended. the weapon is banned by more than a hundred countries for their record of killing civilians. protests as the head of the un nuclear watchdog? rafael grossi visits south korea to try to calm fears overjapan�*s plan to release millions of tonnes of treated contaminated water from the damaged fu kushima nuclear plant. the sun newspaper says a bbc presenter has been accused of paying a teenager tens of thousands of pounds for sexually explicit photographs, beginning when they were 17. it's understood that the bbc is looking into the allegations. now on bbc new: this cultural life: tracey emin.

hello i am john wilson. welcome to this cultural life, the radio four podcast. my guest is tracey emin, an artist who has always put her own life at the centre of her work in drawings, paintings, videos, sculptures and installations, she tells very personal stories. we met in a radio studio in bbc

broadcasting house. tracey, welcome to this cultural life. your life has always run all the way through your are right but when did the art start? yet they make the art then took off at school because i missed so much skill. i stopped going to school when i was about 13 and had to go back and i was 15. i went back for three months and i had to do three days a week, by law, otherwise my mum would have been in trouble with social services and things. i just did whatever i wanted to do an art and i think that is what it was really. it really sort of, it became me if that makes sense. in a serious way. and i think, because the teachers took me seriously, and trusted me, that was quite a fantastic thing at the age of 15 when no one else did and i didn't have much else to hold onto at the time. and i think if i hadn't done

out at school god knows what would have happened no idea. this out at school god knows what would have happened no idea.— out at school god knows what would have happened no idea. this was my aodmother have happened no idea. this was my godmother you _ have happened no idea. this was my godmother you grew _ have happened no idea. this was my godmother you grew up. _ have happened no idea. this was my godmother you grew up. was - have happened no idea. this was my godmother you grew up. was there l have happened no idea. this was my i godmother you grew up. was there any access to museums, galleries, culture? you might know, i didn't even know art museums really existed. they were something, like me in my mind, when i was really young, an art museum was where the mona lisa lived or something. it wasn't where you could go but, in saying that, when we were young, we are to spend time in turkey. i went to a museum and stumble and i had a sort of idea of this other kind of culture but it was part may culture because i was — turkish. it wasn't to do with art and it wasn't to do with culture. it was just like things that existed in the world. and i remember always being completely and totally spellbound by john the baptist hand and that was in the museum when i was little and when i went back, to istanbul, when i was older doing different things,

i was older doing different things, i wanted to go there undergojohn the baptist hand because i thought it was fantastic. that background. if i was turkish and you are living in margate, your parents were running a hotel. yes, they had a hotel. my dad being turkish cypriot he came to england in 19118 footer became in a £10 ticket. so it wasn't just west indian people who came, it is people from all over the colonies in cyprus was one of them and my dad came here 19118 and he was on his way to australia to see his cousins and he stopped off in england, and his cousins are sent a telegram saying don't come to australia, you won't get in. your skin is too dark. because they had the weights own the thing up until about 1956. my really dark skinned. because my great—great—grandfather was from the sudan and he was a slave in the ottoman empire.— sudan and he was a slave in the ottoman empire. have you always known that? _ ottoman empire. have you always known that? yes. _ ottoman empire. have you always

known that? yes. my _ ottoman empire. have you always known that? yes. my background | ottoman empire. have you always. known that? yes. my background is not anglo-saxon _ known that? yes. my background is not anglo-saxon and _ known that? yes. my background is not anglo-saxon and i _ known that? yes. my background is not anglo-saxon and i have - known that? yes. my background is not anglo-saxon and i have not - known that? yes. my background is. not anglo-saxon and i have not been not anglo—saxon and i have not been brought up in an way, really. so my dad, all his friends said, come down to my gate, it is just like the mediterranean. this was a 1968. so my dad went down to my gate and brought all these properties and join them together and made this hotel and my mum and dad weren't married. and my mum, my dad spent three days with us in three days with his wife and also one—day somewhere else. and then when there was a big recession in about 1970 or whatever it was, my dad lost everything. absolutely everything. and my mum, not being married to my dad and being dependent on my dad, she lost everything, too. and then we went... my dad didn't sort of really help us. my dad sort ofjust vanished off the scene for a while and we went unspotted in a cottage.

so that was in the 70s. and my mum, then, from owning a hotel, worked at a hotel. she was a chambermaid. so it was really strange kind of thing, reversal of fortunes. and, yeah, and so we went from having lots to having nothing almost overnight. but initially studied fashion, didn't you? i initially studied fashion, didn't ou? , . ., ., initially studied fashion, didn't ou? ,. ., you? i left school at 13, went back and i was 15 _ you? i left school at 13, went back and i was 15 i _ you? i left school at 13, went back and i was 15 i left _ you? i left school at 13, went back and i was 15 i left when _ you? i left school at 13, went back and i was 15 i left when i - you? i left school at 13, went back and i was 15 i left when i was - you? i left school at 13, went back and i was 15 i left when i was 15. i and i was 15 i left when i was 15. since i was legally able to leave school, i think it was the 1st of may, i left and moved to london with two david bowie albums on some clothes and got a job include shop. and i stayed in a squad and a lot of well—known creative names came from that squat and they all went to art school and everything and i wanted

to go to art school but when i went back. i went back to margate and i was homeless, completely homeless. my was homeless, completely homeless. my mum wasn't there any more, we didn't have a house or anything and i had to live in a bed and breakfast. i was 17. i had to live in a bed and breakfast. iwas17. and i had to live in a bed and breakfast. i was 17. and that was probably one of the lowest points of my being completely homeless and having food vouchers. and i went to the job thing, you having food vouchers. and i went to thejob thing, you know, and i said i wanted to be an artist and they said, well, you haven't got any o—levels and a—levels are what i did was i applied to a foundation course at the medway college of design are made on my farm and said i had o—levels and i got an interview under garten and then as i was going out the door they said leave your certificates the office and i said what certificates? and they said,... i could lie on the paper but i can make to theirfaces. i could lie on the paper but i can make to their faces. i said,

i could lie on the paper but i can make to theirfaces. i said, i haven't got any. make to their faces. i said, i haven't got any.— make to their faces. i said, i haven't got any. you have no qualifications? _ haven't got any. you have no qualifications? none, - haven't got any. you have no qualifications? none, none. | haven't got any. you have no . qualifications? none, none. and haven't got any. you have no - qualifications? none, none. and they said, what qualifications? none, none. and they said. what is — qualifications? none, none. and they said. what is in _ qualifications? none, none. and they said, what is in that _ qualifications? none, none. and they said, what is in that basket? - qualifications? none, none. and they said, what is in that basket? and - qualifications? none, none. and they said, what is in that basket? and in l said, what is in that basket? and in the basket i had all these close i'd made myself and they said, would you pay to do fashion? and i said, well, 0k. pay to do fashion? and i said, well, ok. i did for the, pay to do fashion? and i said, well, ok. i did forthe, i pay to do fashion? and i said, well, ok. i did for the, i wanted a foundation course but it seemed better than nothing but actually, it wasn't. i hated it so wanted to do fine art so i heard joe's drama on the radio talking about a school of art in the vote that you could go there with no qualifications. you showed your portfolio and it was a pound a year so i went for an interview under garten to do the foundation course and then they said i was wasting my time and i should do a good degree. they wrote me a glorious, like, reference. idid do a good degree. they wrote me a glorious, like, reference. i did my degree at maidstone and ijust glorious, like, reference. i did my degree at maidstone and i just loved it. i excelled and i got a first overt qualification was a degree. well, with us to talk about the key

moments of your life in the most important artworks that have had a profound effect on your own creativity and the first one you've chosenis creativity and the first one you've chosen is a painting, one at the tate. you may guess, the rothko painting pink and yellow. {lister tate. you may guess, the rothko painting pink and yellow.- painting pink and yellow. over 22 when i first _ painting pink and yellow. over 22 when i first went _ painting pink and yellow. over 22 when i first went to _ painting pink and yellow. over 22 when i first went to the _ painting pink and yellow. over 22 when i first went to the tate - painting pink and yellow. over 22 when i first went to the tate and | painting pink and yellow. over 22 | when i first went to the tate and i pretended that it wasn't my first time and then was walking through and then i came across this rothko painting and of course i didn't know it was rothko and i was just staring at it and there was a bench and i sat down and sobbed and sobbed and cried and cried looking at this painting. it was, to me, it was the most, like, amazing thing. it was like looking at the most beautiful sunset or... but i felt it. i felt this painting shake. ifelt it emerge. it wasn't standing still for me when i looked at it. i could feel

it vibrate. and i did know anything about rothko, and i didn't pursue anything about rothko afterwards. it was only later when i did find out about rothko and read about rothko i thought, oh, my god. how... and then i realised something very early on that art, to art should resonate. should make you feel. it is not a picture, it is not a thing, it is not an object, it is a true entity. a true thing that has energy that comes from somewhere. that is what makes it art. but comes from somewhere. that is what makes it art-— makes it art. but if you talk to --eole makes it art. but if you talk to people in _ makes it art. but if you talk to people in the _ makes it art. but if you talk to people in the street _ makes it art. but if you talk to people in the street and - makes it art. but if you talk to people in the street and ask. makes it art. but if you talk to i people in the street and ask who tracey emin as there were probably associate you with my bad or the other work that handed called everyone i ever slept with, 1963 to

1995. do you think the painting has been overlooked? you 1995. do you think the painting has been overlooked?— 1995. do you think the painting has been overlooked? you might know. i think i've been _ been overlooked? you might know. i think i've been overlooked. - been overlooked? you might know. i think i've been overlooked. i - been overlooked? you might know. i think i've been overlooked. i don't i think i've been overlooked. i don't think i've been overlooked. i don't think the painting has been over that, think i've been overlooked. i think people didn't understand the seriousness of my work over the last 20 years. i think theyjust thought i was some sort of narcissistic deranged screaming years ago i was accused of being narcissistic and moaning about myself and i wasn't. i was making work about rape, making work about abuse, making work about heartbreak, making work about, you know, do something for everybody to the count and go, oh, my god, let's talk about the subject. let's open this never always been doing this and i think, now, because of, you know, a lot of like me to end all these different... and people have had to start to listen and industry, commerce has had to start to listen as well, i think now more people are starting to look at my work and going, oh, my god, you know, she wasn't moaning. she was, i was

actually talking about with the serious issues. {iii actually talking about with the serious issues.— actually talking about with the serious issues. ., , , ., ., serious issues. of the last year or so ou serious issues. of the last year or so you have _ serious issues. of the last year or so you have incredibly _ serious issues. of the last year or so you have incredibly ill. - serious issues. of the last year or so you have incredibly ill. we - serious issues. of the last year or| so you have incredibly ill. we have undergone several operations. you make one operation. was at one? mi make one operation. was at one? all at make one operation. was at one? rii at once. yeah, a lot happened, ya. powers that experience influenced the way you work in the sort of work that you have made in months, do you think? ~ , ., ., ., �* think? well, first of all, i haven't made hardly _ think? well, first of all, i haven't made hardly any _ think? well, first of all, i haven't made hardly any work _ think? well, first of all, i haven't made hardly any work in - think? well, first of all, i haven't made hardly any work in the - think? well, first of all, i haven't made hardly any work in the last| made hardly any work in the last year at all because i physically couldn't stand up. my paintings are really robust and really physical and really charged up. very full of energy and it is almost like the life force. all the energy comes through you when you put the paint on. it is notjust like a living in or whatever. on. it is notjust like a living in orwhatever. it on. it is notjust like a living in or whatever. it is real, real. on. it is notjust like a living in orwhatever. it is real, real. so haven't been well enough to do that over the last year and, to be honest, i've only really started

working again. i honest, i've only really started working again.— honest, i've only really started working again. honest, i've only really started workin: aaain. ~ working again. i think you said, you robabl working again. i think you said, you probably said _ working again. i think you said, you probably said many _ working again. i think you said, you probably said many times _ working again. i think you said, you probably said many times that - working again. i think you said, you probably said many times that art l probably said many times that art saved your life. now that science has also saved your has that give new meaning to the art?- new meaning to the art? science saved my life. — new meaning to the art? science saved my life, definitely. - new meaning to the art? science | saved my life, definitely. medical science. my surgeon was wonderful. a robot actually did all the surgery which is incredible. but, you know, i think love saved me. i really think love saved me this time. not art. ~ . think love saved me this time. not art. . ., , ., think love saved me this time. not art. ~ ., ., ., ,, think love saved me this time. not art. what you mean? ever make love. i think, art. what you mean? ever make love. ithink, i art. what you mean? ever make love. i think, i fell— art. what you mean? ever make love. i think, i fell in _ art. what you mean? ever make love. i think, i fell in love _ art. what you mean? ever make love. i think, i fell in lovejust_ art. what you mean? ever make love. i think, i fell in lovejust before, - i think, i fell in love just before, just before i found out i had cancer. and i think that made me feel, oh, i made something once in a sad everything is different when you are in love. find sad everything is different when you are in love. �* , ., , are in love. and it is. the rain is different- _ are in love. and it is. the rain is different. the _ are in love. and it is. the rain is different. the wind _ are in love. and it is. the rain is different. the wind is _ are in love. and it is. the rain is different. the wind is different. | different. the wind is different. and you are in love the rain as you know, like a torrent of rain and its beautiful coming down. you know, when you are the moody and you're not in the pitch at a freezing cold wet horrible same with the winds. when you are in love, everything is different. everything is much more heightened. everything is, like, you

see colour is more intense. everything you feel everything. and i think, falling in lovejust before, this is brilliant. i was sitting on my roof in spitalfields, my house. and it is very mary poppins. and it was during bog down and i had just come back from my studio. i'd been working for, like, 24 studio. i'd been working for, like, 2a hours almost nonstop and i came back and it was really hard and we had that how the hot weather and i was sitting on my roof and i was looking at the church steeple and i had a glass of champagne sitting on my roof and my feet propped up on the slates and i thought, oh, god, i am happy. i've never been so happy in all my life. and then... a few weeks later almost terminal cancer, you

know. it was, like a terrible, how my life changed like that. and it also taught me a thing. like, i think almost every time life have said i am so happy, something with the awful has happened. at this time, with a canter. it was such a bad thing. it was such a shock. it was so awful that i had no choice butjust was so awful that i had no choice but just to was so awful that i had no choice butjust to deal was so awful that i had no choice but just to deal with was so awful that i had no choice butjust to deal with it. so i accepted the possibility that i was going to die. i accepted how bad everything was and ijust thought, right, so i'm probably going to die by christmas. ijust put that right, so i'm probably going to die by christmas. i just put that over there and nowjust get on with living. this bed. and become even more happy. i've become slightly enlightened, you know. i become born again and i was smiling. i was a different person, my whole soul, something almost like the make up inside my body had changed or

something. i don't know. i cant really explain it. i so you neither could be an end? you're the mother knew there was more chance of that than there was me being able to get through it because the cancer was, i had a type of cancer that so rapid and so fast that chemo can't catch up and so fast that chemo can't catch up with it so the only chance i had was the big surgery. another was a chance that they had mr bed. but they didn't. they didn't, touching wood everywhere. haifa they didn't. they didn't, touching wood everywhere.— they didn't. they didn't, touching wood everywhere. they didn't. they didn't, touching wood eve here. ., ., , wood everywhere. how and why did the love help get — wood everywhere. how and why did the love help get you _ wood everywhere. how and why did the love help get you through? _ wood everywhere. how and why did the love help get you through? i _ wood everywhere. how and why did the love help get you through? i think- love help get you through? i think if i had not _ love help get you through? i think if i had not had _ love help get you through? i think if i had not had failed _ love help get you through? i think if i had not had failed love - love help get you through? i think if i had not had failed love i - love help get you through? i think if i had not had failed love i wouldj if i had not had failed love i would have just floated off. i'd if i had not had failed love i would havejust floated off. i'd make this as a new relationship started? of sorts. yeah, yeah, yeah, yeah, yeah. and i think being real and having something tangible on this earth. also i had been totally on my own for ten years without any affection, without any love, without anything. so suddenly the reality of everything being real made me think

do you know what? do i want to no, i don't think so. and i think my willpower kicked in and because i had accepted this it meant that i could with the concentrate on life, that make sense. i'd make something to live for. something very important to therefore. or i could die quite happily, do you see? so because i had accepted that it meant i didn't have to fight to death which meant i could actually concentrate or live.— which meant i could actually concentrate or live. you've recently shown work — concentrate or live. you've recently shown work alongside _ concentrate or live. you've recently shown work alongside paintings - shown work alongside paintings worked by one of your other great artistic heroes. was he already in influence at that time you saw the rothko? a, ~' influence at that time you saw the rothko? a, ~ ., , influence at that time you saw the rothko? a, ~ .,, ~ ,, influence at that time you saw the rothko? ~ ~ ,, ~ rothko? monk, iwas miss monk, i think, ou rothko? monk, iwas miss monk, i think, you know. _

rothko? monk, iwas miss monk, i think, you know. 1983— rothko? monk, iwas miss monk, i think, you know. 1983 or _ rothko? monk, iwas miss monk, i| think, you know. 1983 or whatever, for, i was many monk. i wrote my thesis on monk. i emulated him, i made this really big screening with wooden frames around them, you know, i was totally in love with him. i loved emotionally traumatised out. i responded to it. and figurative art as well. that was the main thing. tracey, your next big cultural evidence is musical. you're the monk david barry's whole ethos and how he made things and everything meant different and be outside but you don't have to be beaten to that, you could use it and be creative. it was not about pop. it was about being ok about being outside. and

not about pop. it was about being ok about being outside.— about being outside. and about art, es. the about being outside. and about art, yes- the next _ about being outside. and about art, yes. the next bit _ about being outside. and about art, yes. the next bit of _ about being outside. and about art, yes. the next bit of the _ about being outside. and about art, yes. the next bit of the byway - about being outside. and about art, yes. the next bit of the byway storyj yes. the next bit of the byway story which is really brilliant. i was sitting in a lebanese restaurant in 97 and somebody be done over the table and said i'm very sorry to interrupt, my name is david and i just to say how much i love your work. and i looked up like their son david barry is looking at me. and i said likewise.— david barry is looking at me. and i said likewise._ very - david barry is looking at me. and i | said likewise._ very cool, said likewise. very cool. very cool, eah. said likewise. very cool. very cool, yeah- and — said likewise. very cool. very cool, yeah- and we _ said likewise. very cool. very cool, yeah. and we became _ said likewise. very cool. very cool, yeah. and we became friends - said likewise. very cool. very cool, yeah. and we became friends and i said likewise. very cool. very cool, | yeah. and we became friends and it was pretty wonderful. —— mike david . and this person had become a fan of i became friends with. i'd make thatis of i became friends with. i'd make that is the year before the exhibition at the royal academy and so he must have been in the know to know you. no, he knew my work. he

had seen my work in toronto but also david knew everything. you know in the money fell to earth when he is watching the tv screens and everything. he was really like that. he was into everything. you be watching this scene that put opinion about everything contemporary that was happening. he was the kind of person that had his finger on the pulse of everything at that time, i was on the cusp of, you know, being like an artist. if you are in the know you would know who i was and he was totally in the know. did know you would know who i was and he was totally in the know.— was totally in the know. did he give ou an was totally in the know. did he give you any advice _ was totally in the know. did he give you any advice by — was totally in the know. did he give you any advice by creativity - was totally in the know. did he give you any advice by creativity or- was totally in the know. did he give you any advice by creativity or fame as well, dealing with them? when he played in ireland and i went with him. i played in ireland and i went with him. ., , , him. i went to see him play. he said, him. i went to see him play. he said. this _ him. i went to see him play. he said, this goes _ him. i went to see him play. he said, this goes out _ him. i went to see him play. he said, this goes out to _ him. i went to see him play. he said, this goes out to my - him. i went to see him play. he said, this goes out to my friend | said, this goes out to my friend tracey is going to be the most famous artist in the world and then he played fame, which is pretty brilliant. i was thinking, what is he going to play and it was fame. yeah, i never really talk about my

finger david bowie much because it always sounds a bit, you know, unreal, really. but, yeah, iwas friends with him, good friends. and it was just brilliant. just to me, it's just made sense that we were friends. itjust made sense. it is interesting _ friends. itjust made sense. it is interesting you _ friends. itjust made sense. it is interesting you say _ friends. itjust made sense. it is interesting you say about the cover of heroes or larger and opening your eyes to new art. did he continue to do that when you knew him? what eyes to new art. did he continue to do that when you knew him? what a treat do that when you knew him? what a great influence _ do that when you knew him? what a great influence on _ do that when you knew him? what a great influence on your _ do that when you knew him? what a great influence on your work? - do that when you knew him? what a great influence on your work? no, l do that when you knew him? what a great influence on your work? no, it was the other way around. he really loved my art and i really loved his music. this sounds silly. because i can't sing a word. i cant sing a note and he would say, i could get you to sing. i'm very good. we could do a song together. i've got the perfect sound that you could sing and i said, you can't sing and he said, yes, you could. and i always wish i'd done it now. mas

said, yes, you could. and i always wish i'd done it now.— wish i'd done it now. was he serious? _ wish i'd done it now. was he serious? did _ wish i'd done it now. was he serious? did he _ wish i'd done it now. was he serious? did he have - wish i'd done it now. was he serious? did he have a - wish i'd done it now. was he serious? did he have a song| wish i'd done it now. was he i serious? did he have a song for wish i'd done it now. was he - serious? did he have a song for you? i really wish i had done it because i really wish i had done it because i would have had something else in history with my association with him. do history with my association with him. , ., history with my association with him. i. ., history with my association with him-_ yes. i i history with my association with - him-_ yes. i do. him. do you regret that? yes, i do. and i regret — him. do you regret that? yes, i do. and i regret not _ him. do you regret that? yes, i do. and i regret not being _ him. do you regret that? yes, i do. and i regret not being an _ him. do you regret that? yes, i do. and i regret not being an extra - him. do you regret that? yes, i do. j and i regret not being an extra with my mum and fills and horses. i really regret that.— my mum and fills and horses. i really regret that. only fools and horses? how _ really regret that. only fools and horses? how would _ really regret that. only fools and horses? how would that - really regret that. only fools and horses? how would that have - horses? how would that have happened? me horses? how would that have happened?— horses? how would that have ha ened? ~ . , horses? how would that have ha ened? ~ ., , ., happened? me and my mum in margate sittin: on a happened? me and my mum in margate sitting on a bench _ happened? me and my mum in margate sitting on a bench eating _ happened? me and my mum in margate sitting on a bench eating some - sitting on a bench eating some jellied eels and their bosses, the scout person came and asked us if we would be extras. i would have loved to have been an extra and fills and horses with my mum. we just looked so cool, me and my mum sitting there eating jellied eels. and things in life that you think, maybe i should have done that. it would have been fun. ~ , , ., have done that. it would have been fun. , ., have done that. it would have been fun. ~ , i. ., have done that. it would have been fun. ~ , ., ~ fun. why did you say no, then? and i don't know- — fun. why did you say no, then? and i don't know- i — fun. why did you say no, then? and i don't know. i was _ fun. why did you say no, then? and i don't know. i was probably _ fun. why did you say no, then? and i don't know. i was probably too, - fun. why did you say no, then? and i don't know. i was probably too, i - don't know. i was probably too, i don't know. i was probably too, i don't know. i was probably too, i don't know. two, two, what is the word? self... llp

don't know. two, two, what is the word? self...— don't know. two, two, what is the word? self... up my own backside, that is what — word? self... up my own backside, that is what i _ word? self... up my own backside, that is what i was _ word? self... up my own backside, that is what i was going _ word? self... up my own backside, that is what i was going to - word? self... up my own backside, that is what i was going to say. - that is what i was going to say. yeah, definitely, ya. ithoughti was too good to be an extra in fools and horses. it would have been classic be brilliant. especially with my mum. so, you know, like, this is a serious point. as an artist, you're supposed to be really serious but i take my work really seriously. if anyone tries to knock my work and take the mickey out of my work and take the mickey out of my work and take the mickey out of my work i come down on them like a tonne of bricks but that doesn't mean to say that i have to take me so seriously. it doesn't mean that have allow for there is in this other side of me and i wish, in a way, in life, i hadn't have got so hung up on i had had a better balance, really. ezriii hung up on i had had a better balance, really.— balance, really. evilways, throughout _ balance, really. evilways, throughout your _ balance, really. evilways, throughout your work, - balance, really. evilways, - throughout your work, explore balance, really. evilways, _ throughout your work, explore these

really difficult, very personal issues. what has driven you to have the confidence to be so can verdict? if i had children everything and my children were at school i think i would be censored. i would have to self centre. i haven't. my whole childhood, i have no barriers. i could do whatever i wanted. i did not have to go to school. i did not have to brush my teeth. i can do whatever i wanted. and it has been like that throughout my life as an artist. i have done what i wanted to do. i have decided, as i am older, if my work isn't going to be hung in the best museums in the world because it is about rape or it is about abortion or it is about taboo subjects, then so what? it doesn't matter. my art still exists i will continue to make it and about the subjects that i think are important either they are subjects you should not be speaking about her talking about. because they're still there. and if they are not brought to the

surface than they implode and there is an even greater problem. i don't know you are undoubtedly one of the most successful and respected artists in this country if not the world. but as you have already acknowledged your faced division and abuse for years for the sort of work you made. abuse for years for the sort of work ou made. ., abuse for years for the sort of work you made-— abuse for years for the sort of work ou made. ., ~ ., ., ., i. you made. you know, what drove you on durin: you made. you know, what drove you on during those _ you made. you know, what drove you on during those times? _ you made. you know, what drove you on during those times? i _ you made. you know, what drove you on during those times? i have - on during those times? i have nothin: on during those times? i have nothing else. _ on during those times? i have nothing else. that's _ on during those times? i have nothing else. that's it. - on during those times? i have nothing else. that's it. that's| on during those times? i have i nothing else. that's it. that's all i've ever done is art. that's all i have ever done. nothing else. so it is all i know. so in the rest of the world wanted to desert me, i'd never did. so i stick with what loves me. and art loves me so it's good. and and art loves me so it's good. and is drivin: and art loves me so it's good. and is driving you _ and art loves me so it's good. and is driving you on _ and art loves me so it's good. and is driving you on now to make more work? �* . is driving you on now to make more work? �* , , work? because it will help me get well and bring _ work? because it will help me get well and bring me _ work? because it will help me get well and bring me back— work? because it will help me get well and bring me back to - work? because it will help me get well and bring me back to this - work? because it will help me get i well and bring me back to this world first. so art gain is looking after me, taking me forward and is my friend and also, i hope, love is take me forward to. so there is lots

to look forward to. so much to look forward to. i've never had so much to look forward to in all my life. it's a shame it will only be for another 25 years but better than nothing. another 25 years but better than nothinu. .,. , ., ,, another 25 years but better than nothinu. .,. , ., «i i. , nothing. tracey emin, thank you very much. nothing. tracey emin, thank you very much- cool- — nothing. tracey emin, thank you very much. cool. for— nothing. tracey emin, thank you very much. cool. for podcast _ nothing. tracey emin, thank you very much. cool. for podcast episodes - nothing. tracey emin, thank you very much. cool. for podcast episodes go| much. cool. for podcast episodes go to bbc sound — much. crrrri. for podcast episodes go to bbc sound wherever you get your podcasts. some storms around at the moment. as we go to the west of this week and

there will be showers and thunderstorms around but they probably won't be quite as potent and that is because the air is gradually turning pressure from the west. it is moving his way northwards and eat their words. this is the cold front from earlier which will eventually bring that big drop in temperature but, through the west of the afternoon into the evening, across england and scotland, you will see showers and thunderstorms. mid 205 will see showers and thunderstorms. mid 20s around the moray firth and high 20s across east anglia as we start the evening. indeed tonight, showers and thunderstorms. those are pretty northwards. later across the channel islands and the far south—east we could see some storms return. in between those two may spaces become dry. a bit misty and still warmer. not as humid as the nightjust gone. i'll be going to sunday, south—east england, could be heavy or thundery rain around. a wet start. elsewhere, a dry sunny spells

and showers breaking out. heavy thundery in northern ireland. there could be some further interruptions the ashes, rain close to silverstone and hopefully a lot of play at wimbledon. temperatures tomorrow around 21—24 a lot more comfortable the uk is signatory to a convention which prohibits lot production feel. very pleasant in the sunshine. the uk is signatory to a convention which prohibits lot more ction the uk is signatory to a convention which prohibits lot more comfortable around 21—24 a lot more comfortable feel. very pleasant in the sunshine. through sunday night into monday, through sunday night into monday, though, we turn our attention to though, we turn our attention to this low pressure to the south—west. there will bring heavy rain to begin with. parts of ireland and indent to wales. and showers towards england and the north of scotland but some could still be on the thunder bay side. temperatures may be still high teens, low 20s for one or two if anything is that low pressure moves to the north—east was we start to have more of a westerly or north—westerly air flow so things will be much cooler for the week

ahead. if anything, temperatures at or below average for the time of year especially the northern country. some changeable spells of rain at times and will also be quite windy at times, too. which prohibits the production live from london. this is bbc news. rishi sunak says the uk "discourages" the use of cluster bombs — as the us says it will supply them to ukraine.

the uk is signatory to a convention the dutch prime minister meets the country's king after the collapse of his coalition government. and, could pasta made from ground crickets be coming to a menu near you?