Noble’s works all begin fundamentally as designs or drafts, employing ancient and modern philosophies; in this case, the transcendent theme of the icon, sacred and profane. Nobsunshine (2009–10) glorifies that which gives life, alluding both to divine light and the pagan worship of the entity. And yet this spiritual experience is punctuated by the familiar language of Western art. Noble’s Volume drawings are obsessively detailed compositions in pencil, each a multi-layered representation of every Henry Moore sculpture from one volume of the late sculptor’s catalogue raisonné. In Small Couple (2011) and Small Three Prone (2012), herms depicted in the drawings become invented deities sculpted in solid marble. Here, Noble materialises his inner vision—a fictional pantheon for contemplation and immersion—in a medium with monumental connotations.

Consisting of primarily drawings, Noble's work is most often presented on the walls of galleries, like windows into another portal of a surreal existence. However, the pencil works are often accompanied by a series of three-dimensional sculptures that occupy the same exhibition space. These fecal sculptures 'act as sentries that mark an entrance to the exhibition. Transcending their base connotations, these biomorphic forms serve as three-dimensional counterparts to the characters and monuments depicted in [the] drawings. 

Blending craft with carnivalesque, Noble’s urban depictions juxtapose social conscience with an acute humour to draw a world that is both austere and decadent. 

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