GHOST (1990) CASTING NEGATIVE SPACE “I had an idea of mummifying the sense of silence in the room.” – Rachel Whiteread .


HOUSE (1993) “…a reversal of an enclosing. instead of allowing for a connection to and retrieval of the past. a place of repose and comfort.” . a symbol of domestic hopes and dreams. “House” monumentalized the past in a subversive manner. “House” subverted the warm cozy memories of home. What was left was a monument to one’s most private moments but with the privacy stripped bare and petrified. dwelling. comforting.


UNTITLED – 100 SPACES (1997) CASTING ABSENCE Composed of the underside of 100 chairs. displayed in a grid pattern .


WATER TOWER (1998) Give places and spaces to something that never had a place in this world Texture of water inside a tower Solidifying water. water to look frozen in a moment of time Completely takes on its environment and becomes part of the sky .


“ • • . which stand for the vast number of the victims. The spines of the books are facing inwards and are not visible. therefore the titles of the volumes are unknown and the content of the books remains unrevealed. The shelves of the memorial appear to hold endless copies of the same edition. as well as the concept of Jews as "People of the Book.JUDENPLATZ HOLOCAUST MONUMENT (2000) • The outside surfaces of the volume are cast library shelves turned inside out.

UNTITLED MONUMENT (2001) • provide a sculpture for the empty fourth plinth in Trafalgar Square. which stood upsidedown. making a sort of mirror-image of the plinth. but as an absence to be acknowledged . largest object ever made out of resin • • Critics response: She sees it not as a space to be filled. 11 ton resin cast of the plinth itself.

EMBANKMENT (2005-2006) • Whiteread selected a number of differently-shaped old boxes found in her mother house • She filled them with plaster. . perceiving the box as a keeper of collective memory. each recording and preserving all the bumps and indentations on the inside. peeled away the exteriors and was left with perfect casts. box in connection with memory and loss.

CHARITY BOX (2007) Sculpture for a charity auction Similar to installation in Embankment .

Josef Albers (1888 – 1976) Colour Interactions .

1942 “Tenayuca.Style Geometric abstraction Untitled. 1936 .” .

1972 .Style Manipulate human perception by color Formulation: Articulation Folio II. Folder 18. 1972 Portfolio I : Folder 2.

.Colour Theory 1 Colour is constantly changing -colour is in relation with the colors it is surrounded by.

Colour Theory 2 Colour is understood through experience -Choice of the colors and their sequence influences and changes each other forth and back. Boxes move • forth and back • in and out • near and far • enlarged and diminished. 1949 . Homage to the Square series.

Creates two way 3D perceptions Protruding outwards or inwards? .Colour Theory 3 Colour reversal .

Colour Theory 4 Color is deceived continuously. .Interaction of colours can create optical illusion A transparent folded square appeared when slight different color with background is used. .

Furniture .

USA(removed) • Black. . Strips seem 3d and floating. white and red strips arranged in interwoven columns. 1963 • 28 x 55 feet • Lobby of the Pan-Am Building. New York City.Murals • Manhattan.

1961 • Bronze and glass • 12.25 m • Time-Life Building.75 x 4. . New York City.Murals • Two Portals. USA • To create an illusion of depth.

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