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“The reason my work has affected people over the years is because it draws people’s attention to their lives and the things in their lives. There’s a certain amount of humility that goes with that.”
—Rachel Whiteread
Gagosian Geneva presents an exhibition of recent sculpture and works on paper by Rachel Whiteread.
Whiteread’s approach to sculpture is predicated on the translation of negative space into solid form. Casting from everyday objects, or from spaces around or within furniture and architecture, she uses materials such as rubber, dental plaster and resin to record every nuance. In recent large-scale works, the empty interiors of wooden garden sheds were rendered in concrete and steel, recalling the earlier architectural works Ghost (1990), House (1993), and the imposing concrete sculpture Boathouse (2010), installed on the water’s edge in the remote Nordic landscape of Røykenviken.
photo artobserved.com
This exhibition focuses on a series of recent sculptures cast in resin from doors and windows in ethereal shades of eau-de-nil or steely gray, and a selection of layered collages incorporating cardboard, celluloid and silver leaf. In the surfaces of the sculptural works, the effects of changing light and shadow become subjective dimensions. Propped against or affixed to walls, these massive yet spectral counterparts to the utilitarian elements from which they derive echo earlier large-scale resin works such as Untitled (Floor) (1994) and One Hundred Spaces (1995).
Exhibition at Tate Modern
photo tate.org.uk
at the Museum of Contemporary Art San Diego
photo archivingthecity.com
Whiteread’s works on paper reveal aesthetic nuances that move beyond the found histories of her sculptural work. Untitled (Amber) and Untitled (Green) (both 2012) are diminutive cardboard constructions mounted on graphite-marked notepaper, painted with silver leaf to form tiny, imperfect monuments complete with celluloid “windows.” Each work freshly engages her ongoing concerns with mass and void, the textures of life and history, and ubiquitous traces of human presence.
Untitled (One Hundred Spaces) 1995
photo saatchigallery.com
via gagosian.com
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