Lauded British artist Rachel Whiteread is best known for her peculiarly poignant renderings of the negative space that invisibly occupies our architectural and domestic surroundings. Her Turner Prize-winning sculpture, House (1993), saw her cast the inside of a condemned London dwelling in concrete, before removing its exterior brick by brick to reveal the replicated interior beneath. For this poetic installation, meanwhile, displayed here in Tate Britain’s Duveen galleries in 2018, Whiteread cast the underside of a hundred chairs, resulting in a shimmering grid of multicoloured resin boxes that “oscillates between abstraction and reference” (Guggenheim).
