Untitled (One Hundred Spaces) 1997

Rachel Whiteread made "Untitled (One Hundred Spaces)" with resin, creating a field of colorful, translucent blocks. Looking at them, I’m struck by how each one is slightly different, like individual brushstrokes in a painting. It’s like she’s thinking about artmaking as a process of accumulation, a kind of building up. The material quality of the resin is key here. It’s smooth, yet it has this depth, allowing light to pass through and create shadows. Take a closer look at the orange blocks – you can see the subtle variations in tone and density. This attention to detail is what makes the work so compelling. It’s about the physicality of the material, the way it feels in space, and how it interacts with light. Whiteread reminds me a little of Agnes Martin, but while Martin’s work is all about removing the hand, Whiteread’s is about embracing the imperfections. Both artists, though, invite us to slow down and pay attention to the subtle nuances of form and color. There’s something about art that embraces ambiguity, leaving room for multiple interpretations.