0:00:00 > 0:00:00WHAT DO ARTISTS DO ALL DAY? FKR A294E/02 BRD000000
7:17:59 > 7:18:06.
7:18:20 > 7:18:23I never know really what I'm doing.
7:18:23 > 7:18:26I have a little inkling of where to start
7:18:26 > 7:18:28and I'll know when something is finished,
7:18:28 > 7:18:32but along the way there are lots of diversions and dips and weaves.
7:18:36 > 7:18:39I see things in the world which are just quite ordinary
7:18:39 > 7:18:42but then they become extraordinary, the more you look at them.
7:18:50 > 7:18:52The craft, if there is such a thing as craft in my work,
7:18:52 > 7:18:55is about looking, it is about arranging materials,
7:18:55 > 7:18:57it is about titling something.
7:18:57 > 7:18:59It is about re-presenting it.
7:19:12 > 7:19:16I feel I've been an artist always,
7:19:16 > 7:19:19but, you know, it doesn't mean my art is any good!
7:19:46 > 7:19:49I've never really been that studio-orientated.
7:19:49 > 7:19:53I'm always much more happy being out and about.
7:19:53 > 7:19:57I'm a bit of a grasshopper so I'm not really doing one thing all day.
7:19:57 > 7:20:00There's always lots of little things happening.
7:20:05 > 7:20:09So today is very chaotic. I've got quite a few things to do.
7:20:10 > 7:20:14I've got a show coming up so I've kind of got to finish lots of things off.
7:20:14 > 7:20:18I realise a lot of my work over the last year or so
7:20:18 > 7:20:22has been about the streets, because that is where I am most of the time.
7:20:23 > 7:20:26You start to hone in on certain things, then they become a bit
7:20:26 > 7:20:30of an obsession and then I usually have to do something about them!
7:20:30 > 7:20:31Thank God I'm an artist.
7:20:34 > 7:20:35I'm going to stop now
7:20:35 > 7:20:39and take a quick photo of something I've been eyeing up for a while.
7:20:41 > 7:20:43Where is it?
7:20:43 > 7:20:49It's there. I'm just going to pull over and take a quick iPhone pic.
7:20:51 > 7:20:54I love urban spaces.
7:20:54 > 7:20:56I was born in the countryside and I was pretty phobic about
7:20:56 > 7:20:59urban spaces for a long time, but now I live in London
7:20:59 > 7:21:04which I have since 1984, I don't think I could ever leave it.
7:21:04 > 7:21:08I mean, it's just continually throwing up stuff that I love.
7:21:11 > 7:21:17What I love about this sign is it says, "Stop." Somewhat urgently.
7:21:17 > 7:21:20But because the sign is so old and it's getting so decrepit now,
7:21:20 > 7:21:24it feels like this urgent word has weathered with age
7:21:24 > 7:21:28and I really like the contradiction of that.
7:21:28 > 7:21:30If I make an image of this,
7:21:30 > 7:21:34what I would do is get rid of all the other words around it and just have
7:21:34 > 7:21:37the word "Stop" in a black background,
7:21:37 > 7:21:40with all the ageing round it. So it is an aged stop!
7:21:51 > 7:21:55I like using found objects because they are familiar, everybody
7:21:55 > 7:21:58knows what they are and they are part of the world that we all inhabit.
7:22:00 > 7:22:04I take things that are ubiquitous and familiar and tweak them in some way.
7:22:04 > 7:22:07Or just point something out about them.
7:22:16 > 7:22:19In 1991, I made a piece called Cold Dark Matter: An Exploded View,
7:22:19 > 7:22:23and I used that title to describe a piece which was a garden shed
7:22:23 > 7:22:27that I assembled in a gallery full of objects, and then
7:22:27 > 7:22:31I asked the British Army to blow up the shed for me which they did!
7:22:31 > 7:22:33EXPLOSION
7:22:37 > 7:22:40The shed seems like the place full of baggage.
7:22:43 > 7:22:47I like the fact that it is again, it is ubiquitous. It is a depository.
7:22:56 > 7:22:59I spent my childhood working hard on a smallholding,
7:22:59 > 7:23:03doing many hours of hard graft, from milking cows by hand,
7:23:03 > 7:23:08mucking out pigs, doing rhythmic tasks, doing monotonous tasks,
7:23:08 > 7:23:12and I think that choreography is still there in my work.
7:23:17 > 7:23:21My parents weren't keen at all on me pursuing art.
7:23:23 > 7:23:26I left home and went to Wolverhampton Poly.
7:23:32 > 7:23:34Wolverhampton was a gritty, urban space.
7:23:34 > 7:23:38It had Anti-Nazi League rallies, racism,
7:23:38 > 7:23:41you know, urban blight.
7:23:46 > 7:23:48My aesthetic changed.
7:23:48 > 7:23:49I began to look at decay
7:23:49 > 7:23:53as something that could possibly have some value in the world.
7:24:11 > 7:24:16I like playing a lot with the idea of abstraction and representation,
7:24:16 > 7:24:18so there's a lot of looking.
7:24:27 > 7:24:30And it's part of a battery of electric shocks that build up
7:24:30 > 7:24:35into something that can spark into something that becomes a work.
7:24:42 > 7:24:43I think with cracks,
7:24:43 > 7:24:46the obsession with cracks is almost like a childhood thing.
7:24:46 > 7:24:49And now I'm a mum and I've got an 11-year-old, for years I was
7:24:49 > 7:24:54walking my daughter to school and we would play don't step on the cracks.
7:25:02 > 7:25:04You're filling all the cracks in that I'm interested in,
7:25:04 > 7:25:08these have been here for a long time. Now you have filled them in.
7:25:08 > 7:25:12- This is terrible.- Everyday we fix this road, the council no helping.
7:25:12 > 7:25:14This is a rubbish road.
7:25:14 > 7:25:15Never mind.
7:25:20 > 7:25:23- Thank you!- Bye!
7:25:23 > 7:25:27Very often I get my best ideas walking down the street
7:25:27 > 7:25:29or in conversation.
7:25:29 > 7:25:33You know, those everyday conversations that I might have.
7:25:33 > 7:25:35Somehow it throws you into a different gear.
7:25:45 > 7:25:47The cracks that I had got to know so well
7:25:47 > 7:25:51over these years of walking Lily to school,
7:25:51 > 7:25:56I have decided to almost deify them, you know, make them into an object.
7:25:59 > 7:26:02So I have made a rubber mould of the cracks
7:26:02 > 7:26:04and I am having those cast in bronze.
7:26:21 > 7:26:24So these are the last three sections we've got to pour.
7:26:24 > 7:26:27- They are scheduled to pour on Thursday.- Wow!
7:26:27 > 7:26:29They don't look anything like my cracks!
7:26:29 > 7:26:31- They look like trees or something. - Absolutely.
7:26:31 > 7:26:34'For me, process is incredibly important.
7:26:34 > 7:26:37'I think the materials are important, the process is important
7:26:37 > 7:26:42'and it is a combination of what those two things together make the work.
7:26:42 > 7:26:46'The material is important in this piece and it's gone through
7:26:46 > 7:26:49'a process already which is done by experts, not by me.
7:26:49 > 7:26:53'But I think the work is just a record of those two things really.'
7:26:55 > 7:26:57Ah, wow. It's amazing!
7:27:02 > 7:27:04For the first half of my degree I was doing painting
7:27:04 > 7:27:08and because of that I missed some of the induction courses in sculpture.
7:27:08 > 7:27:12So I didn't learn those sculptural techniques whether they be welding
7:27:12 > 7:27:17or modelling in clay or carving, anything traditional.
7:27:19 > 7:27:23I'm watching an aluminium pour. It's great. It looks like silver.
7:27:23 > 7:27:25It's giving me ideas.
7:27:27 > 7:27:29I think that really helped me in a way,
7:27:29 > 7:27:33it liberated me from technique, that I've always in the last few
7:27:33 > 7:27:36years harnessed technique that's out there in the world.
7:27:36 > 7:27:39If I want to cast something in bronze I'll use a bronze foundry,
7:27:39 > 7:27:43or if I want to use a steam roller, I'll employ a steam roller driver.
7:27:43 > 7:27:46If I want to throw things off cliffs, I just throw them myself!
7:27:51 > 7:27:54He's going to be working on your piece.
7:27:54 > 7:27:56So we are the early stages obviously at the moment.
7:27:56 > 7:27:59Most of the castings are now actually in metal.
7:27:59 > 7:28:02Obviously in sections, so we are casting it obviously in sections.
7:28:02 > 7:28:07So we have been working on removing the shell, removing the feeders.
7:28:07 > 7:28:10At the moment obviously they are still raw castings
7:28:10 > 7:28:14if you like, we've still got to do all the fixings etc.
7:28:14 > 7:28:15Looks very exciting!
7:28:18 > 7:28:20Cornelia's deadline really is the end of this month,
7:28:20 > 7:28:25so at the moment we've got the vast majority of bits cast in bronze,
7:28:25 > 7:28:28sections have been cleaned off and they are now being prepared
7:28:28 > 7:28:31for the point where they are going to be joined
7:28:31 > 7:28:34and assembled and final fixings.
7:28:34 > 7:28:38So I like this, because the lumpy bit is where the soil was
7:28:38 > 7:28:42of the crack, so the liquid fills right down to the earth's surface,
7:28:42 > 7:28:46and then that's a bit of a chip out of the paving stone.
7:28:46 > 7:28:49And that's why it's got a flat surface.
7:28:49 > 7:28:56These smooth bits are to do with bits missing from the stone, yes.
7:28:56 > 7:28:58So it's a bit of nature and a bit of man!
7:29:01 > 7:29:06This is really getting very wonderful to see it in a tangible object.
7:29:06 > 7:29:10Something that was just a crack has now become an object.
7:29:10 > 7:29:14It is giving birth to an object, with help from experts.
7:29:14 > 7:29:15LAUGHTER
7:29:19 > 7:29:21I love coming to these kind of places,
7:29:21 > 7:29:24because they have expertise that I haven't got.
7:29:24 > 7:29:26I realise everything is a step-by-step process,
7:29:26 > 7:29:30it all edges me closer to what I want. So it is good.
7:29:40 > 7:29:42In Thirty Pieces Of Silver,
7:29:42 > 7:29:44I used a steam roller and I laid
7:29:44 > 7:29:46all these objects out on the path,
7:29:46 > 7:29:47and I got the steam roller
7:29:47 > 7:29:49to run over everything.
7:29:50 > 7:29:51All the silver objects
7:29:51 > 7:29:53that I had bought from various places
7:29:53 > 7:29:54were united in one death.
7:29:57 > 7:29:59So I picked up all the debris
7:29:59 > 7:30:01and suspended it in 30 pools.
7:30:07 > 7:30:09And then, the piece, which looked like waterlilies
7:30:09 > 7:30:13hovering above the ground became like a natural object.
7:30:22 > 7:30:26- RADIO:- 'Now it is time for Desert Island Discs with Kirsty Young.'
7:30:26 > 7:30:29DESERT ISLAND DISCS THEME PLAYS
7:30:48 > 7:30:50My theory about why I became an artist
7:30:50 > 7:30:54and why I do what I do is play was a guilty pleasure, and so I
7:30:54 > 7:30:59think I've chosen a career where play is OK, although it's hard work, too.
7:30:59 > 7:31:03Somehow, work and play are very conflated in my work.
7:31:03 > 7:31:07- RADIO:- 'It's a wonderful voice and she used to sing wonderful songs.'
7:31:07 > 7:31:11# Times have changed
7:31:11 > 7:31:16# And we've often rewound the clock
7:31:16 > 7:31:20# Since the puritans got a shock...#
7:31:20 > 7:31:23I'm doing these drawings for my show which is coming up
7:31:23 > 7:31:28and they are grids based on targets for shooting guns.
7:31:28 > 7:31:33I had this wire made out of bullets that had been melted down
7:31:33 > 7:31:36and drawn into wire.
7:31:36 > 7:31:39When they make wire, the process is called drawing,
7:31:39 > 7:31:43so it is literally drawing the bullets into a long line.
7:31:43 > 7:31:46# In olden days a glimpse of stockings
7:31:46 > 7:31:49# Was looked down as something shocking
7:31:49 > 7:31:53# Now, heaven knows...
7:31:53 > 7:31:57# Anything goes. #
7:31:57 > 7:31:59So, this is taken from a target
7:31:59 > 7:32:05and what I'm going to do is I'm going to puncture holes in a grid
7:32:05 > 7:32:11so I can use that as a template to thread the bullet wire through.
7:32:14 > 7:32:20I like the idea of this kind of violent thing being made
7:32:20 > 7:32:23into something little bit more formal and considered.
7:32:32 > 7:32:35But I think violence has been there for a long time for me
7:32:35 > 7:32:39in my work and I kind of think I suppose violence is there
7:32:39 > 7:32:43in sculptural practice traditionally.
7:32:43 > 7:32:47You know, you get to forge the metal, you get to chip away at the stone,
7:32:47 > 7:32:51so there's lots of little violent acts going on all the time,
7:32:51 > 7:32:54but by the time you get your traditionally finished piece,
7:32:54 > 7:32:56that's all been smoothed over,
7:32:56 > 7:33:00you can't see the kind of violence that has gone into making something.
7:33:00 > 7:33:04Somehow, the bullet with all its energy and its potential for death
7:33:04 > 7:33:10and its potential for all kinds of things, and then having that...
7:33:10 > 7:33:11DOOR OPENS
7:33:11 > 7:33:16- Hi.- Hi, Jeff.- How's it going?
7:33:16 > 7:33:20- OK, good.- You're working away?
7:33:20 > 7:33:23Yeah, I'm working on my bullet grids.
7:33:26 > 7:33:29- Very good.- I'm discussing why I'm so violent.
7:33:29 > 7:33:33Oh, oh! I just walked in at that moment!
7:33:33 > 7:33:37# An answer when you propose
7:33:37 > 7:33:43# Anything goes... #
7:33:43 > 7:33:47- RADIO:- 'That was Cole Porter's Anything Goes...'
7:33:47 > 7:33:50- Would did you get me, then? - I got coils.
7:33:50 > 7:33:54Coils and flatbread, your favourite. A bit mangled.
7:33:54 > 7:33:56Yeah, got this great kebab shop opposite our studios,
7:33:56 > 7:34:00which is our favourite place anyway, before we even got these studios.
7:34:02 > 7:34:05I got a phone call from the washing machine people.
7:34:05 > 7:34:06Yeah, I saw that.
7:34:06 > 7:34:11- So it's coming at 5:20.- Perfectly bad timing, but never mind.
7:34:23 > 7:34:27The Maybe was a collaboration between Tilda Swinton and myself.
7:34:27 > 7:34:29Tilda, at the time, was like an arthouse movie star.
7:34:29 > 7:34:32She had a cult following and people were saying,
7:34:32 > 7:34:34"Oh, bring me back a stocking or a relic of Tilda,"
7:34:34 > 7:34:37because, you know, she had that mystique.
7:34:42 > 7:34:44And then I had this idea of the relic,
7:34:44 > 7:34:48the idea of things belonging to people who are long dead.
7:34:48 > 7:34:49So there was 30-odd objects
7:34:49 > 7:34:51that were all in their own individual glass cases.
7:34:51 > 7:34:53Some of them together,
7:34:53 > 7:34:56like Queen Victoria's stocking next to Wesley's spurs,
7:34:56 > 7:34:58or Faraday's spark apparatus next to Babbage's brain.
7:35:01 > 7:35:04And then there was Tilda, as herself, in a glass case.
7:35:04 > 7:35:07She was sleeping for eight hours a day for seven days.
7:35:07 > 7:35:09She just lay asleep in the glass case.
7:35:14 > 7:35:16So The Maybe was sort of not necessarily
7:35:16 > 7:35:20about Tilda's place in posterity, but about us all, really.
7:35:20 > 7:35:21That we're all still alive.
7:35:21 > 7:35:24Tilda was still alive and breathing the same way as we were,
7:35:24 > 7:35:27but was absent because she was asleep.
7:35:32 > 7:35:38I wear these gloves just because they're less poisonous, obviously.
7:35:38 > 7:35:41Don't want to be any more brain-damaged than I already am!
7:35:44 > 7:35:47I should call this The Long-winded Bullet!
7:35:47 > 7:35:49SHE LAUGHS
7:35:53 > 7:35:57This definitely reminds me of doing samplers at school,
7:35:57 > 7:35:59when I was at primary school.
7:35:59 > 7:36:03We would always have to take a little square of linen
7:36:03 > 7:36:06and do rows and rows of different stitches.
7:36:09 > 7:36:15Sometimes, being an artist or making art is just...
7:36:15 > 7:36:18I'd rather you called it something else.
7:36:18 > 7:36:21People think you are on some elevated plane, which you're not.
7:36:21 > 7:36:24You are just doing, you know,
7:36:24 > 7:36:27I suppose, a quite privileged activity.
7:36:30 > 7:36:33But you don't want to set yourself apart from society.
7:36:33 > 7:36:36You're very much part of society.
7:36:38 > 7:36:41I think I was kind of quite an insular child, really.
7:36:41 > 7:36:43I'm much more gregarious now.
7:36:43 > 7:36:45But as a child, I was very sort of introverted and shy.
7:36:45 > 7:36:50I thought art was about being in the studio in an interior world,
7:36:50 > 7:36:54and that gradually, as I've become more extrovert over the years,
7:36:54 > 7:36:56and gone out into the world, then you end up having
7:36:56 > 7:36:59these conversations with people about, "Oh, I am an artist."
7:36:59 > 7:37:01And they will say, "Oh, what materials do you use?"
7:37:01 > 7:37:03"Are a you sculptor?" You know?
7:37:03 > 7:37:07They would say, "Oh, do you use clay or do you carve or do you...?"
7:37:07 > 7:37:10They're wanting you to talk about your traditional craft
7:37:10 > 7:37:13and how you spent your years perfecting it,
7:37:13 > 7:37:17and I try and explain the materials I use and the way I work.
7:37:17 > 7:37:19Then they get caught up with,
7:37:19 > 7:37:23"Oh, you blew a shed up?" or, "You threw something off a cliff?"
7:37:23 > 7:37:27And they get transported by that process,
7:37:27 > 7:37:30and then they forget about the art bit, which is quite nice.
7:37:30 > 7:37:33I think it's good to forget about the art bit, really.
7:37:40 > 7:37:43One of the people who has been the biggest influence on me
7:37:43 > 7:37:45and my work has been Duchamp.
7:37:48 > 7:37:51He made a piece where he draped a mile of string
7:37:51 > 7:37:56over a surrealist exhibition, obscuring everybody else's work.
7:37:56 > 7:37:58SHE LAUGHS
7:37:58 > 7:38:02And I love this piece. It's a very naughty piece of sabotage,
7:38:02 > 7:38:05and I've always wanted to re-enact it.
7:38:09 > 7:38:13I did a piece where I borrowed Rodin's The Kiss.
7:38:15 > 7:38:19What I did was tie the mile of string around the heads
7:38:19 > 7:38:22of the two lovers, binding them together.
7:38:22 > 7:38:25Instead of The Kiss, I called it The Distance,
7:38:25 > 7:38:29and then, in brackets, "A Kiss With String Attached."
7:38:29 > 7:38:35So then the piece became more about relationships, perhaps intimacies,
7:38:35 > 7:38:38about the chords that bind you together can also suffocate you.
7:38:45 > 7:38:48- Hello?- Hi! Cornelia!
7:38:48 > 7:38:51- Hi.- Hello. - How are you?- Very good.
7:38:51 > 7:38:53- How are you doing?- Good.
7:38:53 > 7:38:55'Sometimes, before an exhibition,
7:38:55 > 7:38:57'you've got this big rush of creativity,
7:38:57 > 7:38:59'and you try to get things out in time to show
7:38:59 > 7:39:01'and some of the things just fall away.
7:39:01 > 7:39:04'I'm in that stage now. I'm firing on all cylinders,
7:39:04 > 7:39:06'but I realise I should be
7:39:06 > 7:39:09'just concentrating on a couple of things and doing them well.'
7:39:09 > 7:39:12Basically, another of my bullet drawings
7:39:12 > 7:39:14but they are like sutures,
7:39:14 > 7:39:16so they're more like stitches.
7:39:16 > 7:39:19But I quite like the back.
7:39:19 > 7:39:22So I wanted to be able to show both the back and the front,
7:39:22 > 7:39:27or have the option of a frame where both those possibilities are there.
7:39:27 > 7:39:31OK. It's strangely, actually, quite beautiful and elegant, actually.
7:39:31 > 7:39:34- Yeah, it's kind of curious. - Yeah, isn't it?
7:39:34 > 7:39:36It is quite a relief when I come here.
7:39:36 > 7:39:38I associate this place with happiness,
7:39:38 > 7:39:42because I've resolved something enough to bring it to Keith
7:39:42 > 7:39:45for him to give it the best possible presentation.
7:39:45 > 7:39:48So, yeah, it's a nice feeling.
7:39:48 > 7:39:50I have done some bullet drawings before,
7:39:50 > 7:39:52which were like wire meshes
7:39:52 > 7:39:54that were trapped between two sheets of glass,
7:39:54 > 7:39:57which Keith was brilliant at solving that problem.
7:39:57 > 7:39:59This is another way.
7:39:59 > 7:40:03- This is another way. You can see both sides.- Sold!
7:40:03 > 7:40:06That's good. I like that. I'm going to show this instead, actually.
7:40:06 > 7:40:07This is a much better idea.
7:40:07 > 7:40:09It's got a ticket saying, "Sold" on it!
7:40:13 > 7:40:18For a long time, I made work that was ephemeral and didn't survive.
7:40:18 > 7:40:23Basically because I didn't want to be even thinking about commerce
7:40:23 > 7:40:24when I was making work.
7:40:27 > 7:40:29Gradually, I think, over time realised
7:40:29 > 7:40:33that collectors are custodians of your work.
7:40:33 > 7:40:36And so I kind of got a little bit more grown-up
7:40:36 > 7:40:39about allowing the work to be sold and collected.
7:40:41 > 7:40:43This is a photograph taken in Jerusalem,
7:40:43 > 7:40:49but just outside, in the courtyard of The Church of the Holy Sepulchre,
7:40:49 > 7:40:53and this is on a round metal bathysphere thing,
7:40:53 > 7:40:55which is a bomb disposal unit.
7:40:55 > 7:40:58It's where they put suspect parcels.
7:41:02 > 7:41:05Last year, I had three trips to Jerusalem
7:41:05 > 7:41:08and Bethlehem, and the West Bank, and being part of a big exhibition there.
7:41:10 > 7:41:14I made some work which a couple of pieces are going to be in the show.
7:41:17 > 7:41:19So that's spilt milk in Jerusalem.
7:41:19 > 7:41:24- And this is an oil stain in Bethlehem.- OK.
7:41:24 > 7:41:28'I think being an artist is a political act.
7:41:28 > 7:41:31'But I like to wear my politics lightly, I think.
7:41:31 > 7:41:34'I don't want to box myself into a corner with my work.
7:41:34 > 7:41:37'I want to keep my freedoms and I want the work to have duality.'
7:41:37 > 7:41:39Oh, great, it looks good.
7:41:39 > 7:41:42'If you have too overtly a political point,
7:41:42 > 7:41:44'then it closes down the possibility of the work.'
7:41:47 > 7:41:50There's going to be a suite of 12 photographs
7:41:50 > 7:41:52which I took of Pentonville Prison wall,
7:41:52 > 7:41:55which builders were filling the cracks in the walls
7:41:55 > 7:42:00of the prison outside, and these looked like fantastic abstract
7:42:00 > 7:42:01expressionist paintings to me.
7:42:04 > 7:42:07I just visually responded to them, because they reminded me
7:42:07 > 7:42:11of things which already existed in the world, which was art.
7:42:11 > 7:42:14But these were not meant as art. This was just somebody filling cracks.
7:42:28 > 7:42:30Took the prison photographs last year,
7:42:30 > 7:42:32and this is a few months on
7:42:32 > 7:42:36and I am now hanging outside the women's prison
7:42:36 > 7:42:39hoping somebody is going to come over the top.
7:42:44 > 7:42:46I've only seen these cracks
7:42:46 > 7:42:50when I have been speeding by in the car on the way to the Waitrose.
7:42:50 > 7:42:52As you do.
7:42:55 > 7:42:59Oh. Yeah, nice.
7:43:11 > 7:43:13Yeah, very different from the boys' prison wall.
7:43:13 > 7:43:16- BEHIND CAMERA:- In what way?
7:43:16 > 7:43:20Well, it's just got a whole different mood.
7:43:20 > 7:43:26It is much more delicate. It's no Prisoner: Cell Block H here.
7:43:27 > 7:43:30- A bit more feminine?- Yeah.
7:43:30 > 7:43:33Might be projection on my behalf, though.
7:43:36 > 7:43:37Were you aware of a moment
7:43:37 > 7:43:40where you had earned the right to be an artist?
7:43:40 > 7:43:44Erm...
7:43:44 > 7:43:49Well, I think I've always thought of myself as being an artist,
7:43:49 > 7:43:53even though, I mean, whether anybody else thinks I'm an artist or not.
7:43:53 > 7:43:56But I felt comfortable in the role,
7:43:56 > 7:44:00so I feel I must be being an artist...always.
7:44:00 > 7:44:03But it doesn't mean that my art's any good!
7:44:03 > 7:44:06SHE LAUGHS
7:44:06 > 7:44:08Do you not think your art is good?
7:44:08 > 7:44:11Yeah, well, I think I've made some good art.
7:44:11 > 7:44:16I've made some bad art too, but I try hard to make good art.
7:44:16 > 7:44:20I won't know, really, until I've printed one or two of these up
7:44:20 > 7:44:23if they are going to work or whether they, you know,
7:44:23 > 7:44:25I'm just photographing pretty patterns.
7:44:25 > 7:44:28I think it's because the pretty patterns are on a prison wall.
7:44:54 > 7:44:57What is it called? Jacob And The Angel.
7:44:57 > 7:45:03Oh, I thought we saw one like this when we went to Rome.
7:45:03 > 7:45:06- The marble pieces.- Oh, yeah.
7:45:06 > 7:45:09Not quite exciting as this one.
7:45:09 > 7:45:11This one is very exciting.
7:45:11 > 7:45:15This show is all about the British art collection, what the Tate owns.
7:45:17 > 7:45:20'Being a mother certainly changes the attitude to my work.
7:45:20 > 7:45:23'I was pretty well-established when Lily was born.
7:45:23 > 7:45:26'So it wasn't a major setback to my career.
7:45:26 > 7:45:28'And it was fantastic in a way,
7:45:28 > 7:45:32'because it allowed me to become a child again.'
7:45:32 > 7:45:34Hey, let's go in there! That looks good.
7:45:36 > 7:45:38'So revisiting the cracks in the pavement
7:45:38 > 7:45:39'and all kinds of things,
7:45:39 > 7:45:42'I think it's made quite a lot of difference
7:45:42 > 7:45:44'to the way I view the world.'
7:45:44 > 7:45:46Oh, look. Oh, don't look, Lil!
7:45:46 > 7:45:52No, it's a nice view of an elephant's bottom.
7:45:52 > 7:45:57There's not much art that you can say includes an elephant's bottom.
7:45:57 > 7:46:00But it would be amazing if there were!
7:46:00 > 7:46:03'I expected to live a life of penury
7:46:03 > 7:46:07'and make art as some kind of philosophical reason for being
7:46:07 > 7:46:09'and not expecting to make a living out of it.'
7:46:09 > 7:46:12This is really brilliant.
7:46:12 > 7:46:14I love that stuff.
7:46:14 > 7:46:16I like that one.
7:46:18 > 7:46:23I sometimes have to pinch myself that I have had work on display here.
7:46:23 > 7:46:26But familiarity makes it less scary.
7:46:26 > 7:46:29So I'm pretty happy that I have got quite a few
7:46:29 > 7:46:31works in the collection here.
7:46:31 > 7:46:35My dreams have come true, which is quite weird, really.
7:46:37 > 7:46:41- It's lovely, that one, isn't it? - Yeah.
7:46:41 > 7:46:44Let's go and see the rest of the show, shall we?
7:47:01 > 7:47:05Subtitles by Red Bee Media Ltd