Martin Creed

Work No. 890: DON'T WORRY

About this artwork

‘Work No. 890: DON’T WORRY’ is a two word neon text which is shown with each word on adjacent walls. In its ambiguity, it appears to be related emotionally and intellectually to another neon work, ‘Work No.203: Everything is Going to be Alright’, which is on the façade of the Scottish National Gallery of Modern Art. Creed is interested in communicating and interacting with the viewer; he wants to create a reaction and stir an emotion. For the artist, experience is fundamental to understanding his work and he asserts that his art is “50% about what I make and 50% about what other people make of it.” In exclaiming DON’T WORRY, Creed seems to encourage the viewer to finish the sentence with ‘about what?’ leading them to question their own anxieties.

  • title: Work No. 890: DON'T WORRY
  • accession number: AR01149
  • artist: Martin CreedScottish (born 1968)
  • gallery: In Storage
  • object type: Installation
  • subject: Video Art
  • materials: Neon lights
  • date created: 2008
  • measurements: 50.50 x 50.00 x 6.00 cm
  • credit line: ARTIST ROOMS Presented by the artist jointly to National Galleries of Scotland and Tate and acquired with assistance of the ARTIST ROOM Endowment, supported by the Henry Moore Foundation 2011
  • copyright: © Martin Creed
This artwork is part of Artist Rooms

Martin Creed

Martin Creed

Born in Yorkshire and raised in Glasgow, Martin Creed came to prominence in 2001 when he won the Turner prize with ‘Work 227: The lights going on and off’. This controversial work involved the lights in an empty gallery being switched on and off at intervals, and is typical of the playful and understated nature of Creed’s work. His practice has been described as ‘a series of exercises in awareness,’ using commonplace materials and minimal intervention to draw to our attention things that we might otherwise overlook. Using materials as diverse as paper, music, air, light and text, experience is often key to understanding Creed’s work. He asserts that his art is ‘50% about what I make and 50% about what other people make of it.’