On the town: Paul Noble's new Nobson show – in pictures

Two sculptures, Three (left, 2011) and Couple (2011), stand either side of the huge drawing Welcome to Nobson (2008-10). 'The inhabitants – we must be frank – are shits,' writes Adrian Searle in his review. 'Actual turds, to be precise.' Here, 'one figure sits on another's lap, like a fecal Madonna and Child' Photograph: Paul Noble, courtesy of Gagosian Gallery

A detail from the Welcome to Nobson drawing. 'The detail drags you in and you lose yourself in incident after incident, motif after motif'
Photograph: Paul Noble, courtesy of Gagosian Gallery

Elements such as the delicate fencing in Hell (2009) are developed from the exhibition's immensely detailed centrepiece. Searle praises this drawing as 'filled with musicality, light, rhythm, space and transparency', adding that 'Noble has really learned how to orchestrate greys against the whiteness of the paper, to create airiness as well as density' Photograph: Paul Noble, courtesy of Gagosian Gallery

Heaven (2009), on the other hand, 'looks more like hell – a patch of ground within high brooding walls, topped with broken glass, offering no way in or out' Photograph: Paul Noble, courtesy of Gagosian Gallery

A wide shot of the gallery space showing Hell (second right) and Heaven (right) Photograph: Paul Noble, courtesy of Gagosian Gallery

A Wall Is a Path (2011) echoes the excremental sculptures that dominate the exhibition Photograph: Paul Noble, courtesy of Gagosian Gallery

According to the Gagosian, 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' Photograph: Paul Noble, courtesy of Gagosian Gallery

Family Is Infinity (or Hard Labour) (2009-10) appears to contain visual references to the drawing Hell Photograph: Paul Noble, courtesy of Gagosian Gallery

Cathedral (2011), which Searle describes as 'a mound of stones topped with a rock that looks like a desert rose, sitting amid a landscape of rubble and infinite pebbles'
Photograph: Paul Noble, courtesy of Gagosian Gallery

Macabre jokes abound. 'A+B=C,' writes Searle, 'depicts two children's slides, facing one another. One has a long, angled slant, the other is a slide to certain death' Photograph: Paul Noble, courtesy of Gagosian Gallery