It’s not often that one gets to see the inside of a hot water bottle, but there are plenty of opportunities to do so at the major new exhibition of Rachel Whiteread’s work at Tate Britain. She calls these ‘Torsos’ and describes them as “headless, limbless babies”. Cast in a variety of materials – plaster, resin, wax, concrete – they are plump and tactile and look easy to cuddle.
In 1993 Whiteread was the first female winner of the Turner Prize and this exhibition celebrates the legacy of that: 25 years of sculpture that is distinctively hers and instantly recognisable. Her sculptures focus on “negative space”, the interior volume that fills objects and buildings (she first came to prominence with her ‘House’ (1993), a concrete cast of the interior of an entire terrace house in East London), an approach which reveals hitherto unseen and often minute details and textures of buildings, doors, walls, the underside of a bed and other every day objects which provide the inspiration for her work. From her witty response to the empty plinth in Trafalgar Square (simply a clear resin cast of the actual plinth, placed upside down on the original) to her resonant and deeply poignant Holocaust Memorial in Vienna, her work is strikingly powerful with its spare, minimalist monumentalism.
To best appreciate this Tate Britain has removed the walls of the exhibition space (which earlier this year hosted the David Hockney show) which gives visitors the opportunity to take in the scale of Whiteread’s pieces, including the Untitled (Room 101), the room at the BBC where George Orwell worked during the war and said to be the inspiration for Room 101 in his dystopian novel ‘1984’, and Untitled (Stairs), two staircases from her studio (a former synagogue) turned inside out via her personal artistic process to create a large yet curiously airy sculpture which inhabits the space. The nature of her work gives it an ancient feel – a bathtub becomes a sarcophagus, the apex of a house roof, made from papier maché, is redolent of a Grecian temple freize. There are smaller works too – Line Up, a series of cast coloured cylinders looks like Edinburgh Rock and good enough to eat. And out in the light-filled Duveen galleries her Untitled (One Hundred Spaces) 1995 installation of 100 resin casts of the underside of chairs is a delicious arrangement of giant cuboid fruit jellies.
Until 21 January 2018 tate.org.uk
(header image: Untitled (One Hundred Spaces) 1995 © Rachel Whiteread)