Nick Farhi

Desert bloomers

We are pleased to announce our second exhibition with Nick Farhi. Desert Bloomers is a debut of his new western style paintings, inspired by his recent move to Los Angeles. His new series of desert life paintings has a similar approach to that of a gardener. Caring for the paintings by using hours to mix the correct colours and then applying them in thick brush strokes to unveiled bold colorfields laden with signature iconography.

Through emotive decisions found inside the painting’s brush strokes, the colors are systematically representative of how the sun distributes and produces enzymes to the unique and complexly occurring natural desert plant-life. Chemical properties, transferences of photosynthesising are scheduled by shape and color. Do these hues have mathematical significance or are they made to represent the south western hemisphere as a region of the wild?

Think about the energy of the sun, and how much of it that goes unnoticed, and is enveloped. These are simple notions. True ideas, reflective of our precious world, yet then transferred from the artist onto canvas. Hues shift into purple and into orange and into green all over the notion that plants and wildlife are the best compass, one organism feeding the rest, one molecule of sunny light at a time, and the only thermometer of uniqueness and of natural guiding light that societies can visibly depend upon. Bringing new subjects to a living in all of they’re sparseness of color, breathable form of light and of innate fiction, we present the western rendition of deserted lands, troves of sunbed, industrial void versus form and matter. 

  • Farhi's oeuvre has garnered an exciting reputation for questioning and critiquing the generational farces of zombie formalism while also pays tribute to numerous painters who have come before his time. His works are known for their contemporary translation of classical art forms. This proves his works to be particularly emphatic in their interpolation of history, as he aptly combines the romantic gesture of oil painting with the perceptual trickery and intellectual propensity of conceptual artworks. His "Wine paintings," a series based on marks of oil paint made to look like wine spills, contend an almost alchemical handling of his chosen medium, as well as grant equal importance to timing and placement in his compositional strategy. As a point of political and social reference, the paintings from the series aim to reclaim a new perspective of recounting historical relationships between a figure and its union to an object.

    The artist as a painter has poised himself as a vessel for the unknown and for the jovial truths we experience in beauty and in hardship. For example the studio drum paintings make novel use of an instrument’s skin as a circular structure with scuffs, while worn, are intended to be windows of human life and idyllic expression, which we have found to be the most central and eloquent message of the American artist's works and devotions.

We are pleased to announce our second exhibition with Nick Farhi. Desert Bloomers is a debut of his new western style paintings, inspired by his recent move to Los Angeles. His new series of desert life paintings has a similar approach to that of a gardener. Caring for the paintings by using hours to mix the correct colours and then applying them in thick brush strokes to unveiled bold colorfields laden with signature iconography.

Through emotive decisions found inside the painting’s brush strokes, the colors are systematically representative of how the sun distributes and produces enzymes to the unique and complexly occurring natural desert plant-life. Chemical properties, transferences of photosynthesising are scheduled by shape and color. Do these hues have mathematical significance or are they made to represent the south western hemisphere as a region of the wild?

Think about the energy of the sun, and how much of it that goes unnoticed, and is enveloped. These are simple notions. True ideas, reflective of our precious world, yet then transferred from the artist onto canvas. Hues shift into purple and into orange and into green all over the notion that plants and wildlife are the best compass, one organism feeding the rest, one molecule of sunny light at a time, and the only thermometer of uniqueness and of natural guiding light that societies can visibly depend upon. Bringing new subjects to a living in all of they’re sparseness of color, breathable form of light and of innate fiction, we present the western rendition of deserted lands, troves of sunbed, industrial void versus form and matter. 

  • Farhi's oeuvre has garnered an exciting reputation for questioning and critiquing the generational farces of zombie formalism while also pays tribute to numerous painters who have come before his time. His works are known for their contemporary translation of classical art forms. This proves his works to be particularly emphatic in their interpolation of history, as he aptly combines the romantic gesture of oil painting with the perceptual trickery and intellectual propensity of conceptual artworks. His "Wine paintings," a series based on marks of oil paint made to look like wine spills, contend an almost alchemical handling of his chosen medium, as well as grant equal importance to timing and placement in his compositional strategy. As a point of political and social reference, the paintings from the series aim to reclaim a new perspective of recounting historical relationships between a figure and its union to an object.

    The artist as a painter has poised himself as a vessel for the unknown and for the jovial truths we experience in beauty and in hardship. For example the studio drum paintings make novel use of an instrument’s skin as a circular structure with scuffs, while worn, are intended to be windows of human life and idyllic expression, which we have found to be the most central and eloquent message of the American artist's works and devotions.

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