I have placed certain images of my work my wax crayon/ candle and resin figures from the studio to in London alongside theses selected images of Rachel Whitereads work from her embankment installation to her resin collection. What connects them is the fact there a collection expanded grown inspired by stories. And of course 3D. I wanted to show how they compare to each other and contrasting the differences.

Untitled (Stairs) 2001 by Rachel Whiteread born 1963
Untitled (Stairs) 2001 Rachel Whiteread born 1963 found on the Tate website http://www.tate.org.uk/art/work/T07939

This communicates to me how you can have art which is part of a story part of a house but how its been made put together not normally in this way it can be then placed into a typical general art gallery so I congratulate Rachel Whiteread on that.


With my figures below and above photographed in London in the studio show a sense of this same unique blend of the unconventional how I have created my figures using a ink cartridge container its not a traditional way of working most people would  not use it to make art from it.

The differences between our work is that her work is on a much bigger scale  which I hope to aim for with my collection of figures which I am building growing. She is a well known artist I am just an art student she has had so much more experiences than me, but soon I will be out in the world on my own and will be getting the chance to get more public on side to know me and my work.

Once upon she was an art student. Which makes me happy slightly less daunted by how much I do want to achieve like her.

Why I want to expand build my figures like her she is able to do so much more it seems by having her work so big she is able to do so much than she would than if she had not. More options were probably available to her after she decided to create bigger work she wasn’t restricted.

The Embankment Turbine Hall 3D Installation from 1995 by Rachel Whiteread.
edited cropped filtered by me.
(Untitled) One Hundred Spaces by Rachel Whiteread. Edited  cropped filtered by me.

How I have placed red resin figures here featured is like how Rachel Whitereads resin collection which is above my photos of my collection. Hers is called (Untitled) One Hundred Spaces. Spread out so there is so much space in between them and so that becomes the negative which is is very important her work how and what she creates where it is.

I like how there clearly being shown individually not one is hidden even though there are restricted in colour with the same chosen colours used for all of them to make a pattern repeated.

So are mine specially because I have theme running through my figures its the colour red and wax candles which makes it easier when making decisions there not that hard to make but some are hard when it comes to where I photograph the figures because I don’t want to just photograph them in places environments which are familiar to me I want them to experience new places as if there real people.

I think also with her Turbine Hall piece of boxes creating this world to me where it becomes less about the installation more about the person experiencing it and how they fit into it imagine my red resin and wax figures placed around it the photos with the white and the red and wax crayon ones what a contrast I would of been able to create in them.

The sense of scale because my figures are so much smaller compared to it, the comparisons so much I could of reflected on. This kind of art is so much more known common now in think and I am proud of that because once upon a time it was just not  considered in the wider world of art but just paintings in an art gallery plain old traditional and boring if I am honest because this so not me and thinking about some my friends who study art I think probably would think this too.