1. Information
Farhan is based in New York City, where he balances his career as a designer with his passion for photography. Through his lens, he documents cities, revealing their forms and tonality while seeking the convergence of shape and shadow in a shared moment of time. A recurring theme in his work is the tension between urban life and the tranquility of nature. Beyond photography, he enjoys spending time outdoors and practicing woodblock printing, where he similarly values the craftsmanship and thoughtful process involved.
2. Projects
“Newtown Creek — the series explores the industrial landscape between North Brooklyn, where I live, and Queens, with Newtown Creek as its backdrop. The area is home to the largest oil spill in U.S. history and is one of the most polluted sites in the country. It’s a hub for junkyards, waste management facilities, and warehouses. Through photography, I aim to better understand the landscape I live in and how industry shapes our cities.”
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“Arboretum (ongoing) reflects my personal journey to reconnect with the natural world, seeking peace and meaning in the fast-paced demands of modern life. The images aim to capture how nature's healing power and presence can offer a sense of grounding.”
3. On Emptiness
After reading White by Kenya Hara, I was intrigued by the concept of emptiness and its role in photography. The book explores “emptiness” as a powerful principle in Japanese aesthetics, highlighting how the absence of information invites imagination, perception, and deeper meaning.
In White, Kenya Hara writes:
“In some cases, white denotes ‘emptiness.’ White as noncolor transforms into a symbol of nonbeing. Yet emptiness doesn't mean ‘nothingness’ or ‘energy-less’; rather, in many cases, it indicates a condition, or kizen, which will likely be filled with content in the future. On a basis of this assumption, the application of white is able to create a forceful energy for communication.”
4. On Emptiness (cont.)
I find that what captivates me often starts from this very notion: the same white, negative space, or emptiness, will eventually be shaped by shadows and forms. Emptiness, then, is never truly empty. It holds the potential for transformation, and once filled, it takes on new meaning. My work, in many ways, reflects this transitional state — such as when an empty white wall is transformed by the shifting shadow of a tree. It is these quiet, impermanent moments of change that I’m drawn to.