"Good material everywhere" -- casting shadows from refuse
Clever and well-executed. Spotted on pantherhouse, Tim Noble (1966) and Sue Webster (1967) re-arrange piles of refuse into... well, take a look.
Ingrid Sischy provides insight through interview on the rather romantic British duo in Interview.
Sue immediately found a room that had no windows, no natural light, and a big lock on the door, and she just secluded herself from all the other students. I spent a lot of time trying to get in the door. Once I did get in we realized we were quite happy in each other's company.
I like the last part of the Interview:
SW: Probably a quite recent one, actually. I think maybe when we first got to London we felt a little bit vulnerable and possibly made stuff that we thought would be successful, as opposed to things we actually felt comfortable with ourselves. It's only in the last three or four years that I've actually begun to feel comfortable making work that I feel is real. This would include some of the first light pieces we did, such as "Forever," or "The Fountain" and "Excessive Sensual Indulgence." Also the first shadow work we did, called "Miss Understood and Mr. Meanor."
IS: Does that one involve garbage?
SW: Yeah, it was the first piece using garbage. We fumbled around in the studio making it and were really embarrassed by it. We didn't think it was any good. It was made up out of found objects that I collected, things like bean tins and other rubbish.
IS: And the shadows of your profiles on the wall, are these actually made by the shape of the sculpted garbage?
SW: Yes. Making the sculpture is one thing, but then disguising the fact that it makes the shadow is another--that's why the sculptures are such odd shapes.
TN: The light pieces are very hands-on, but they can be manufactured elsewhere. The rubbish pieces are too, but we need to do those ourselves--they're very time-consuming.
SW: Just because you can't afford bronze or other materials is no excuse for not making art. There's good material everywhere.