Development of his work can be devided into four stages. Stylization, which appears more or less in all four stages, is typical by cutting out unimportant and underlining and exaggerating important things. On first stage there are mainly studies of movement, anatomy of muscles and realistic nature of the animal. Main forming element is the line. Characteristic feature for the second period is fragment, representing the most typical detail of animal so as everyone knows which animal is author dealing with. The third period is characteristic by tangent and structural variety of surfaces of different species. In last, fourth period, he comes to symbolical simplicity of animal, symbolising magic metaphor of human destiny. During this period comes to linking between Antiquity and the Modern Age, Ancient Egypt, Art Nouveau and Gothic art, European and Indian cultures. Boris Nosek tries to express animal as a moving monument, with its specific structure of its body, characteristic signs and differences. He purposely keeps to conception, where animal is dominative and there is no sign of background or environment, where it lives.

Present authors works comprise three different series: decorative series "HEARTDECO", drawing "MIMIKRY" and mysterious "ANTELOPES OF NIGHT". Inspiration for all works was again world of animals, but each time from a different point of view. First series Heartdeco is basically reminiscence of world-famous style of the twentieth - Artdeco. The author is recording in symbolic conception magic strength of wild cats in contrast with elegance of birds. Series of pictures completing drawing series of wild cats, antelopes and monkeys having similar symbolic character and handwriting. In series are dominant structural elements with relief processing of main motifs, as well as whole decorative effect. Applying his combined techniques, Boris Nosek uses a high relief of latex mass together with other materials, combining with smooth surfaces. Main authors theme still remains cheetah, being gentle, strong, fast, but also elate. Series of cheetah symbolises also human relationships, problems characteristic for our human world, symbolises love of man and woman, male and female duality principle, but also life earthly and heavenly, world of fantasy and reality. Equally, the symbolic images or characteristic motifs are cryptograms of validity, whether you think of the flower, cross, heart, drop ...

"Circle of fire" - eight pranced wild cats joined together into one central point, from which springs magic energy "Family in embrace" - represents harmonic relationship between young one, father and mother, embracing each other and showing joy and love "Family" - here it comes to a special connection of three enemies: cat, wolf and lamb, symbolising father, mother and a child in one loving embrace. Largely used colours are brawn and beige. Each animal is separated by red and orange colour reminding beating heard and also whole composition of picture is in spherical shape of triangle /heart/. We can feel the atmosphere of peace and safety. Second part of series is characteristic by return to decorative, almost secede formulation, which became a complicated ornament on one side, on the other side pure artistic symbol. Main motifs are heron and stork couples many times multiplying and becoming new variety of the original theme. Indivisible part of series of birds is "Swans King", which is a reminiscence to authors favourite impressionism. "Marabu" supposed to be an abstract hieroglyph, in which we can find bodies of storks Marabu, reflecting in water surface. As the only picture of the series, there is structural light motive of composition painted with silver colour. "Antelopes of Night" are blue and green dream - floating under the ocean level or flying through the universe. The author brought them from African savannah to high sky, where they are safe from attack of wild animals. They are expressing the same movement as we can find them in the wildness - running, resting, looking around or on grassland. Motif is processed in form of symbol, but there is still natural anatomy of animal. We can not find here symmetry, so typical for previous works. In this series author tried to use triangular composition. There is again used latex structure of central light motif in combination with oil painting in the background. This series of works is a milestone between decorative series "Heartdeco" and live drawing lines of series "Mimikry". Last series of works is series "Mimikry" including graphic papers and series of porcelain originals.
Series of graphic papers Wild cats and Zebras in abstemious two and three coloured litographies express the relationship between animal and environment, where it lives. As in previous series, this works is based on spontaneous direct drawing set up on linear processing. In contrast with series Heartdeco and Antilopes of Night, expressing animals body and animals symbol, author is returning not only to movement itself, but also to linking with whole composition. Equal part of this composition is landscape transformed into imaginary level symbols of vegetative details - leaves represented by smaller contrast dots in "Cheetah in bushes" and tigers stripes transforming into bamboo trunk in background. In all litographies there is deliberately missing sharp contour defining animals' body so as we can see linking of cheetahs' spots with spots reminding leaves in background. Black and white zebra having dry brunches and trees of African savannah appears in the front thanks to direction and shape of the line, respecting anatomy of the animal. Graphical vision specially linear with its movement or contrast between static and changing, contrast between day and night, light and shadow. This principle of vision the author tries to transfer into porcelain and if it was possible to choose adequate composition for particular shape of vase, plates or other objects.

Boris Nosek uses three basic types of technique of drawing on porcelain - underglazed paintings, overglazed paintings and paintings with absorbing colours. He belongs to a small group of artists in CR using these techniques coming from old China and their plans realise on industrial shapes and also on original design. There is connection becoming between "art" and industrial production of art. Underglazed paintings are salts of metals /chlorides and nitrates/, absorbing colours, for instance cobalt and matt black. These are on many objects - are overglazed colours. In many techniques comes to combinations and each porcelain object has to be three or four times in kiln. The most common is painting with salts under glaze, which have aquarelle character. Dominative brawn line is drawn by gold under glaze, which is in contrast with mild pastel colours of salts. There are series on porcelain made with these techniques - series of birds and fish and whole range of vases. Typical example of absorbing colours is drawing with cobalt burn on 1380 having again smooth character without sharp contour. We can reach this softness only by burning on high degrees, when the colour melts and fades into glaze. Sample of this technique is China vase with lid "Swans bath". Colours on surfaces having always sharp contrast with basis, usually black colour in combination with gold drawing, author in many cases scrapes in order to show his experience with graphics and whole appearance of work reminds us of woodcutting or linoleumcutting - "Zebras in night".

At the end a quotation of the author:
"I think that in nowaday's hasty time, where there is no time for verbal communication, a painting might be just the right object to bring people to a stop, to inspire their minds for thinking and to invite them to speak out. That is probably why I shall speak to you in the most comprehensible language for me, in the language without a single word."