To describe the art she creates with partner Tim Noble, Sue Webster references Hank Shocklee’s description of his work with Public Enemy –- “Your worst nightmare of what art can be.” While art aficionados in this country may not be familiar with Noble and Webster, the British have been mesmerized by their work for nearly a decade now. The duo entered the London art scene in the mid-1990s, just as Damien Hirst and other members of the controversial Young British Artists movement had. The YBA movement sparked debate from its inception, not just because of its intentionally shocking imagery (six-legged calf floating in formaldehyde, anyone?) and tabloid-style self promotion, but because the term was coined by advertising vet-cum-gallery owner Charles Saatchi, who in true shill style, named the movement and then pitched it to the public.

Amongst the duo’s most notable pieces is “Toxic Schizophrenia,” an imposing wall structure of a piece made from colored light bulbs, foamex and vinyl that animates a classic tattoo design — a bleeding heart pierced by a dagger. The piece’s overwhelming beauty is in the way it preaches the secret glamorous side of heartbreak.

Another standout is actually a pair of pieces –- a larger than life-sized girl and boy, both made of neon, who blankly stare at one another from opposite ends of the room. The boy looks as if he was attacked by an infuriated baby-momma in a late night fit of neon rage, while the woman has been branded a “cunt face.” It’s a powerful statement that spurred us to fantasize about what we’d write across our ex’s face given the chance.

But the recent neon pieces aren’t what Noble and Webster are most famous for. The couple is best known for their shadow images. Their careful assemblages of trash and taxidermy create whimsical shadow portraits of themselves. And while undeniably clever, they fail to make our hearts go pitter-patter. Which is after all, what good art is supposed to do.

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