526:), which expanded the innovations of 'Miss Understood and Mr Meanor'. This work is composed of a new kind of self-portrait, sculpted out of six months' worth of the artists' rubbish; the remains of everything they needed to survive during the time it took to make the work. A single light source illuminates the pile of rubbish thus casting a portrait in shadow, which contrasts sharply with the materials used to create it; the artists leaning against each other, back to back, enjoying a glass of wine and a cigarette.
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710:) represents the artist's take on the world's oldest form of public art, the fountain. Said Webster: "Electric Fountain mimics the tradition of a fountain as a monument found in public squares around the world, but its magic lies in the emulation of light where water should be." The fountain can be seen as both a celebration of contemporary culture and an ambiguous comment on the nature of consumer society, embodying themes that are often present in the duo's work.
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688:, New York, which shows a reconstruction of two early ancestors of the human species. The artists produced a version of these figures overlaid with their own facial features. The sculptures are installed so that they stand in isolation in an apparently infinite space. Their hairlessness evokes conflicting connotations; they could be the first humans or the last – cave people, or the survivors of a
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471:"At the most immediate and most important level, Noble and Webster's work symbolizes a pair of artists clearly besotted and totally in love with each other, artists who are only interested in picturing themselves: sometimes surrounded by detritus; other times by pastiches of contemporary neon advertising. An antiaesthetic of vulgarity rules on the surface of their work."
648:'The Crack', a vertical column-like form, is possibly the most difficult of the artists' shadow works to decipher. Instead of focusing on the usual black silhouettes cast on the wall, the viewer must instead focus on the white space around the shadow, which reveals the naked bodies of the artists facing each other. This perceptual challenge brings to mind
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503:), came into existence through experimentation with the assemblage of personal items and domestic trash. The silhouettes are formed by lights shining on mounds of rubbish, which includes broken sunglasses and pin badges for rock bands. In this particular work the artist's heads are severed and impaled on stakes. The work was destroyed in the 2004
459:"When we make a piece of work we're constantly looking for something that will take our breath away because if it does that to us we've pushed it as far as it will go. We like to look at every different way of making it, it can be very simple or very complicated, but we don't feel satisfied until we've both given it a good going over."
570:'s study next to a bust of Freud himself. When illuminated the sculpture cast a double profile portrait of the artists, illustrating how sexuality influences our perception of reality reflecting the sexuality that Freud discovered at the core of human life. Another work, 'Scarlett', 2006 (see below video on 'External link') was a "
622:, Beverley Hills exhibition, 'Instant Gratification', 2001. The twenty foot long revision of their original 1997 'Forever' is inextricably linked to the artist's earlier trips to Las Vegas, playing with the traditional connotations of the word, as the constantly flashing lights reinforce the idea of 'forever'.
633:), represents another return to earlier work, as it derives from cartoon-like drawings that Noble and Webster had made of each other ten years before. These large neon figures are covered with neon tattoos of aggressive and forceful statements, clearly demonstrating the influence of punk rock on the artists.
692:. Thus, the work continues the artist's concern with conflicting themes of impermanence and immortality. A year after beginning 'The New Barbarians' they made another version of the work, 'Masters of the Universe', 1998–2000. This uses the same sculptural model as the earlier work but is covered with hair.
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With 'A Pair of
Dollars' they attempted to form an ironic response to the art market and art fairs, creating what Noble described as a 'vulgar' artwork, to demonstrate their annoyance with this system. However, he has since acknowledged the failure of this irony, due to the huge success of the piece.
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of 1997. For this they presented 'The
Undesirables', which comprises a mountain of detritus collected from outside Tim and Sue's house with a shadow image of the artists hovering above. The appearance of a huge pile of rubbish in one of the largest galleries within the Royal Academy was intentionally
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Another work, 'British
Wildlife' was created after Noble's father died in 2000. Using his collection of taxidermy animals, it is an assemblage of forty-six birds, forty mammals, and two stuffed fish, including a whole swan and even the pet crow Noble kept as a child. The shadow formed by this mass of
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is a confluence of beauty and filth, form and anti-form. It is a work of art made out of the process of its own conception, an embodiment of formalist logic. At the same time, it is a negation of everything that formalism stands for ... The artist is at the center of the work. It is deliberately
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to design the building, which he named 'The Dirty House', a reference to the medium they use in many of their works. The original brickwork was painted a dark brown, offset by two rows of window openings, and a 'floating' roof that appears to hover over the upper level of glazing and recessed decks.
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The same contradictions resonate at the centre of their later work, 'Sacrificial Heart', 2008, a three-dimensional rotating version of 'Toxic
Schizophrenia', which, like the earlier work, is both repellent and strangely alluring.'Toxic Schizophrenia (Hyper Version)' was their first permanent public
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In 2012, Sue purchased the Mole Man House in
Hackney for $ 1.1 million. Previously owned by engineer William Lyttle, the house was greatly dilapidated when purchased including the roof having fallen in. Sue hired architect David Adaye who had worked on her previous house. The massive tunnel system
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As with almost all of their work, many of the Light
Sculptures are meant to be contradictory, and to produce conflicting feelings in the viewer. This is certainly the case with their early light sculpture, 'Toxic Schizophrenia', 1997. The relentlessly flashing heart with a knife stuck through it
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had mostly been filled by the town council, but an enormous basement area was created for the art studio using some of the space Lyttle had tunneled out of the ground beneath the home. An enormous amount of rubble and trash had to be removed which equaled around 300 skips worth—one skip a day .
451:"I think anything that's a bit of a rocket up the arse, anything that kicks against the routine, against the mundane things that close down your mind, is a refreshing and good thing. Punk did that very successfully ... it offered a direct and instant means of producing products or things."
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The light sculptures, created in tandem with their shadow investigations, are constructed out of computer sequenced light-bulbs that perpetually flash, sending out messages of, often simultaneous, love and hate. The sculptures reference the iconic
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Isabella Blow graces the
National Portrait Gallery – in the form of magpies, crows, a rattlesnake and a rat. Portrait of late fashion muse Isabella Blow uses stuffed animals to celebrate her 'gothic' image. Guardian, September
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The Shadow
Sculptures incorporate diverse materials including household rubbish, scrap metal and taxidermy animals. By shining light onto these assemblages they are transformed into highly accurate shadow profiles of the artists.
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fuses a
Christian emblem with a cliché rock 'n' roll tattoo. As with the shadow sculptures, duality lies at its core; the work represents romance and pain, love and hate, friendship and alienation, negative and positive.
656:, with its cracks and gullies; gradually we begin to perceive the full-length naked profiles of our friends approaching each other, nipples touching, as though they are about to make love again for the millionth time.'
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worktable on which numerous bizarre mechanical toys are working and seemingly in the process of being made; a nightmarish setting of repressed sexual and sadomasochistic fantasies and transgressions.
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In 2001, Tim Noble and Sue
Webster bought a dilapidated early twentieth-century furniture factory in the East End of London, which would become their studio space. The artists commissioned
652:'s discussion of perception in his famous 1960 book, 'Art and Illusion'. 'The Crack' displays at one moment an abstract shape that is perhaps reminiscent of a heroic mountain landscape by
566:, entitled 'Polymorphous Perverse'.'Black Narcissus', a sculpture made of black silicone casts of Webster's fingers and Noble's penis in various states of arousal, was placed in
402:) respectively. The two first met in 1986 as Fine Art students at Nottingham Trent University, became good friends through shared interests, particularly their tastes in music.
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Tim Noble and Sue Webster's work can be divided into the 'Light Works' and the 'Shadow Works', though Webster does not see them as completely separate. She says:
439:"We kept them both going side by side. There are two sides to the work; the shiny side and the dark side. That kind of reflects the two personalities within us."
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741:' infamous 'Jubilee party'; also held on the same day as the Pistols' party, 31 years later. The service was conducted by their friend and fellow artist
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Noble and Webster were married on 7 June 2008. The wedding party was held on board the Queen Elizabeth, the boat that was used for the
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641:'The Crack' (2004), is one in a series of welded metal sculptures which appear at first glance as abstract works in the tradition of
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Our work is incredibly unsocial. There has to be complete darkness because you need to give the light and then to take it away again.
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Through their shadow sculptures they managed to fuse the abstract and the representational, a pursuit that consumed the likes of
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In 2007, they were awarded the prestigious Arken Prize, and in 2009 they received Honorary Doctorates of Art from
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The 35-foot tall 'Electric Fountain', constructed from steel, neon tubing and 3,390 LED bulbs, was exhibited at
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symbols of Britain and America, recalling carnival shows and signage typical of working-class sea-side Britain,
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1548:"How Artist Sue Webster Transformed Hackney's Mole Man House And Its Labyrinthine Underground Warren"
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It was announced on 4 January 2013, that after 20 years together, Noble and Webster were to divorce.
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that states a Knowledge editor's personal feelings or presents an original argument about a topic.
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382:(born 1967), are British artists who work as a collaborative duo. They are associated with the
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warehouse fire, along with a number of other well-known works from the Saatchi Collection.
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Noble and Webster attended fine art foundation courses at Cheltenham Art College (now the
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and Anthony Caro, while they actually work to reverse this abstraction into figuration.
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Trashed: A Post-YBA Couple's Collaborative Shadow Play. Village Voice, 18 November 2003
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It may require cleanup to comply with Knowledge's content policies, particularly
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Rosenthal, Norman "The Magic Arts of Noble & Webster – Tim and Sue" in
904:(Taschen's 25th anniversary special ed.). Köln: Taschen. pp. 428–433.
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animals fittingly depicts back to back busts of the artists in a pose of grief.
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1523:"Step inside David Adjaye and Sue Webster's Mole House in London's Hackney"
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radical and shocking, created to challenge viewers' assumptions about art.
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sculpture, unveiled at the Museum of Contemporary Art, Denver, May 2009.
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In September 2000, they were invited to participate in 'Apocalypse', the
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Art and Illusion: A Study in the Psychology of Pictorial Representation
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Their first shadow sculpture, 'Miss Understood and Mr Meanor', 1997 (
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Their work features in a number of public collections, including the
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Puny Undernourished Kid & Girlfriend From Hell, (Diptych) 2004
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In 1997, Tim Noble and Sue Webster commissioned a sculptor from
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Contradictions and irony abound in the works exhibited at the
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to help them create a life-size sculpture of themselves as
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personal reflection, personal essay, or argumentative essay
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Sensation's over, now it's Apocalypse. Guardian, May 2000
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Tim Noble; Sue Webster; Larry Johnson (1 August 2002).
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New York: Rizzoli International Publications, US, 2009
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New York: Rizzoli International Publications, US, 2009
629:'Puny Undernourished Kid & Girlfriend from Hell' (
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A major contributor to this article appears to have a
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In 2006, an exhibition of their work was held at the
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Tim Noble and Sue Webster in their studio, London, UK
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entertaining, and revels in its own theatricality."
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Discussing their shadow works, Webster commented: "
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991:"Events Tim Noble and Sue Webster Triumph Gallery"
788:Tim Noble & Sue Webster: Instant Gratification
443:The influence of music on their art, particularly
1382:Darwent, Charles, Review of Gagosian show, London
706:, New York, February 2008. 'Electric Fountain' (
1521:updated, Ellie Stathaki last (9 January 2020).
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1585:"Artists Tim Noble And Sue Webster To Divorce"
805:Tim Noble; Sue Webster; Mark Fletcher (2005).
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64:Learn how and when to remove these messages
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236:Learn how and when to remove this message
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116:Learn how and when to remove this message
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1474:"3 Coins Might Short Out This Fountain"
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843:Tim Noble; Sue Webster (1 April 2008).
1113:"Interview: Tim Noble and Sue Webster"
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488:Miss Understood & Mr Meanor, 1997
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529:Jeffrey Deitch, the director of the
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1250:Deitch, Jeffrey, "Black Magic" in
686:American Museum of Natural History
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1039:National Portrait Gallery website
1016:Blain|SouthernNoble&WebsterCV
398:) and Leicester Polytechnic (now
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96:. Please discuss further on the
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1506:"From Architect to Starchitect"
962:Jeffrey Deitch Projects website
773:Tim Mackie -Sermon on the Mount
680:. Called 'The New Barbarians' (
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539:Dirty White Trash (with Gulls)
323:Dirty White Trash (With Gulls)
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554:'s follow up to the infamous
396:University of Gloucestershire
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1356:"Freud Museum ~ Exhibitions"
902:100 Contemporary Artists A-Z
411:Solomon R. Guggenheim Museum
1328:Louisa Buck "Alchemists?",
1218:Louisa Buck "Alchemists?",
900:Holzwarth, Hans W. (2009).
876:What Do Artists Do All Day?
418:Nottingham Trent University
216:the claims made and adding
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1079:Arken Museum website, 2007
668:The New Barbarians, 1997-9
1136:"Review of Gagosian Show"
1068:Guggenheim Museum website
407:National Portrait Gallery
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1276:The Guardian 27 May 2004
1207:Gagosian gallery website
1203:18 February 2011 at the
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1401:24 June 2011 at the
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556:Sensation exhibition
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1504:Bradbury, Dominic
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1362:on 7 January 2011
1343:"Grotto Fabulous"
1330:The Art Newspaper
1220:The Art Newspaper
1147:Gaskin, Vivienne
957:978-0-8478-2816-6
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854:978-1-904212-24-9
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809:. Kukje Gallery.
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1420:the original
1416:"Mca Denver"
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950:. Rizzoli.
828:. Rizzoli.
743:Tracey Emin
739:Sex Pistols
643:David Smith
585:pop culture
427:in London.
309:Sculpture,
298:Nationality
18:Sue Webster
1611:Categories
1151:Everything
882:References
768:Marc Quinn
533:, writes:
226:April 2020
210:improve it
164:April 2020
50:improve it
593:Las Vegas
445:punk rock
354:Post-YBAs
214:verifying
98:talk page
56:talk page
1632:Art duos
1457:Archived
1426:15 March
1399:Archived
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1297:MoMA PS1
1291:Archived
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1001:15 March
974:Archived
927:Archived
870:See also
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350:Movement
338:Scarlett
1589:Artlyst
360:Website
301:English
208:Please
150:Please
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682:left
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367:.com
290:Born
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