Rachel Whiteread is widely recognised for her large scale sculptural works and her casts of the spaces in and around domestic objects that explore memory and function as subtle observations of human traces in everyday life. A little-known but equally crucial aspect of her practice are her drawings, described by Whiteread as a diary of her work and produced independently of her sculptures.
Lizzie Carey-Thomas, curator at Tate Britain, explores the drawings that provide a rare insight into the creative process of the artist.
