In this 'Postcard' series, Whiteread uses a hole punch to cut out negative spaces in the rooms, capturing the three-dimensional concerns of her sculptural form in a two-dimensional manner. The well-known touristic images are obscured by the cluster of circular abscesses, and they become ambiguous. More of Rachel Whitereads' drawings at the Tate Britain courtesy of the Guardian here, with accompanying article here.
Alongside the postcards are a collection of pseudo-technical drawings, including the revealing 'Study for "House"'. In this work, Whiteread uses an everyday and meaning-laden medium - correction fluid, or 'twink' - to simultaneously create and erase. The house is 'corrected' into a 'pure' whiteness, it becomes absent, yet at the same time, we are more aware of the space the object occupies after the 'intervention'. White is at once pure and ghostly, the house in the images becomes both nothing and, oddly, sky.