Creativity Quote by Tracey Emin

That offhand "It pleases me" is doing a lot of work: it frames participation not as a lofty ideal but as a private, almost mischievous satisfaction. Tracey Emin has built a career out of turning the supposedly sealed space of the self into a public site: confession as installation, vulnerability as spectacle, intimacy as commodity. So when she says she likes that "people can be interactive", she is not pitching a feel-good museum education program. She is quietly celebrating the collapse of distance between artist, artwork, and audience.

The phrasing matters. Not "people are interactive", as if interactivity is a personality trait, but "can be" - permission, possibility, a door left unlocked. Emin's work often sets that trap: you think you're looking, then realize you're implicated. Interactivity becomes a test of nerve and empathy. Are you engaging, gawking, judging, caring? Her pleasure isn't entirely benign; it's the pleasure of watching the audience reveal itself.

Contextually, it also nods to the YBA-era recalibration of art in Britain, where shock, access, and media-savvy encounters rewired what counted as "serious" art. Emin's statement reads like a minimalist manifesto for an era trained by reality TV, social platforms, and confession culture: the viewer doesn't just receive meaning, they generate it live. In Emin's universe, that isn't democratic uplift so much as emotional labor - performed by strangers, right on cue.