When I have an exhibition, I usually arrange it so that if people want to, they can spend two hours there. That way, people who like it don't feel cheated when they go. I want them to walk into the exhibition space and look low and at other levels and angles. The same with emotions. I want them to be emotionally manipulated, to come out feeling something. I want them to laugh, smile, feel sad. Even if they feel angry, that's okay.

What's in yesterday's newspaper is today's fish-and-chip paper. If it really affects my life so badly, so personally, then I would do something about it. When it's really out of order, or something possibly detrimental to my family, or I'm driven to such a level that I know that this can be picked up and repeated again, I will just write or e-mail the newspaper editor. So, in the next day's newspaper, it might say, "Tracey Emin says this is factually incorrect."

My New Year's Eve is always 2 July, the night before my birthday. That's the night I make my resolutions. And this year scares the life out of me, because no matter how successful, how good things appear, there is always a deep core of failure within me, although I am trying to deal with it. My biggest fear, this coming year, is that I will be waking up alone. It makes me wonder how many bodies will be fished out of the Thames, how many decaying corpses will be found in one-room flats. I'm just being realistic.

I've worked really hard. I've made three pieces of seminal art in my life. If I died tomorrow, I'd be remembered for making them. There are a lot of artists who, no matter how hard they work in their lives, will never make anything seminal.

I feel physically ill if I don't make work, I don't create. I don't feel very good. I don't feel right, I feel wrong.

I don't ask for an apology because it's only tomorrow's fish-and-chip paper.

Art is like a lover whom you run away from but who comes back and picks you up.