Generally I look at still life paintings with a sense of knowing and unknowing, much of what I paint holds true to this classic and introductory role that a painting is when with the viewer at first view. The subject matter does not need to contain a defined purpose, yet identifiably introduces a set of calculable structures, attempting to contrast conceptualism. Painting subjects as they are to me, and as they appear in front of me, in real time. In turn, my developed still life work, spanning over two hundred panels, and counting, is my most central style of art making. It gives me oxygen. and wonder, which is what I propose painting ought to be about. Foundational in showing various ideas, in the way of macro cataloguing, I primarily work out my ideas through oil painting. Inside my still lifes, as well as inside my abstractions, are often stark blushes and washes of color, strange symbols, nods to nostalgia, action made markations, and systems of geometry, in an effort to bring the viewer into a world, belonging obtusely to the subject matter.
Nicholas Farhi, b.1987 New York, NY, paints subject matter that is decided upon in real time. After every work is completed it is added to a studio catalogue, divided by origin, name, subject of materiality, position of perspective, luster, sound that it could potentially make, shape, color, and if the object could fly, roll, bounce, or float.