I create interactive, multi-sensory sculptures and installations layered in sound and gesture. I design these works with found objects, raw materials, and circuitry. I use tactile controls to integrate light, electro-acoustic sounds, and field recordings into my projects. This practice enables users to animate and be animated by my sculptures and installations. The found objects and materials I integrate have their own narratives and yet they also accrue new meanings when combined. Through this hybrid medium, my work explores human and material relationships modulated by technology, memory, and communication. I want each experience I create to become personal for the user. Instead of viewing the works, I would like audiences to inhabit the works.

A note on my content; my body of work includes resonating objects, shrines, and portals which are intertwined with personal and narrative elements. I fear and love technology through a complex relationship I have with it in living, teaching, and making art. Also, my experience of growing up on welfare often boils over in my work as I frequently explore social hierarchies and escapism. I engage with all of these ideas by looking at media, society, and interpersonal conflicts. For example, in my sculpture “I Long to be Free from Longing”, I present a collection of intimate sounds embedded in a case with the invitation to covet things that aren’t there. In my music box sculptures: “What Was, What Is, What Is Not Yet” and “A Score for Conversation” I use various sound patterns controlled by interactive paper loops to explore the impact of trauma and the difficulties of listening. In my pieces: “What Lies Beneath” and “Head in the Sand” I offer audiences a chance to explore social anxiety through light, sound, and containment. For all works, I am interested in creating personal moments in public places. This is theatre in that these experiences are constantly evolving due to the particularity of various venues and the nature of an audience’s participation.

Video documentary of Noble’s Resonating Objects.

The Washington Post review of Resonating Objects.