That's Tracey Emin, self-styled bad girl of British Art? The very woman. And, as it happens, the self-styled Mad Tracey from Margate, where she was born 36 years ago. And a self-styled "young, trendy, happy-go-lucky conceptualist".
Occupation, when not fully occupied with self-styling: Furthering the cause of the BritArt phenomenon (prop. D Hirst) spreading a "plague of perversion" (Daily Mail) ranting drunkenly on television.
Ranting on TV? Pioneering performance art, I suppose? That's one way of looking at it. A worse-for-wear Emin livened up Channel 4's live debate on the Turner Prize in 1997 by interrupting a panel of ageing male art critics to declare: "I'm leaving now. I want to be with my mum. I don't give a fuck. You people aren't relating to me now."
She's no fan of the Turner? That was two years ago. This year as the Tate Gallery announced yesterday she's on the shortlist, thanks to her new works Sobasex and Every Part of Me Is Bleeding.
Heavy stuff. Indeed one features an unmade bed with a noose hanging nearby, the other includes a quilt called Psycho Slut. She's most famous for the tent, of course.
Enthusiastic camper, then? She's certainly enthusiastic. Everyone I Have Ever Slept With 1963 1995 is an igloo tent embroidered with the names of 102 people. It was snapped up by Charles Saatchi for £40,000.
So what are her chances of winning the Turner? Emin faces some tough competition when it comes to incomprehensible conceptualism. Other shortlisted artists include Steve McQueen, nominated for his film made by rolling a barrel with a video recorder inside it through the streets of New York, and Steven Pippin, who turns fridges and wardrobes into cameras.
Do say: "Her work largely touches on issues common to us all, not least sexuality, mortality and the creation of meaning in life" (well that was what the Tate judges said, anyhow).
Don't say: "That's nice. What's it supposed to be then?"
