Whiteread Vitrine Objects 2009 / Corbusier Ozenfant Apartment 1922
Rachel Whiteread: There are some sculptures, but very few due to space issues at Tate Britain. There is a vitrine, which will display objects that I collect whenever I go travelling, or from junk shops and off the street. I never really know why I’m collecting these things, and it wasn’t until we started working on the drawing show that it became completely clear what they are. They’re as much drawings, for me, as the drawings themselves, and they’re related to casting and they’re sometimes related to domesticity – they’re a little bit of everything. People get me things, they buy me things, but very few of those have actually gone into the cabinet. I don’t want to sound ungrateful, but it’s definitely my own eye.
Bice Curiger: I think many of those objects have to do with the projection one puts into them. There is also a certain innocence, because you don’t know the story behind them. For example, whether this knife has murdered a person or not, and you might have information that is shocking or deluding…
R.W: Exactly. People often come to my studio and they look at these things. Then when they leave they say: ‘Oh, that really haunted me, and every time I see one of those now I think about your studio.’ It’s quite funny how innocent little objects can be so affecting.
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Collections of Objects: Edmund de Waal Hare with Amber Eyes / Contrast with Corbusier ideas of a working architecture: free of objects - space allowed to breathe/lines exposed.
