For Samir Farah, painting began as an act of quiet resistance, a way to turn away from the turbulence of the news cycle and toward something more enduring.
A Lebanese-British artist who spent much of his professional life in international media and senior leadership at the BBC, Farah’s journey from news to art is one marked by observation, empathy, and a deep belief in the power of optimism.
His figurative and impressionist-inspired paintings capture atmosphere and light with a sense of calm presence, revealing beauty in both the everyday and the fleeting. Whether evoking a crowded city street or a horizon at rest, his work invites viewers to pause, reflect, and reconnect with the simple poetry of seeing.
Represented by galleries in Europe and the United States, Farah continues to gain recognition. His upcoming exhibition, Atmospheres of Presence, opens at The Gallery in Warlingham, UK, on 11 October and runs until 7 November 2025. In this conversation with Art Dependence, he reflects on his path from the world of global news to the contemplative space of art, and on the themes that continue to shape his creative vision.
ArtDependence (AD) How does your work reflect your view of the world right now?
Samir Farah (SF): I think my work reflects both an optimism and a search for stillness. Having lived through conflict as a child, and then spending years at the BBC leading teams through coverage of global upheaval, I am deeply aware of turbulence. But I’ve chosen, through painting, to focus on light, energy, and connection - the quieter but no less powerful side of life. In today’s world of constant noise, I feel art can remind us to look more closely, and to rediscover beauty in simple, everyday moments.
AD: What role do you think art plays in connecting people today?
SF: Art crosses boundaries that words often cannot. I’ve seen how news connects people intellectually, but art reaches them emotionally. Today, when divisions and distractions are everywhere, I believe art can offer a shared space - whether through atmosphere, memory, or simple presence - that reminds us of what we hold in common. It’s a quiet but profound form of connection.
AD: In what ways does living between Lebanon and the UK influence your artistic vision?
SF: I grew up in Lebanon during the years of conflict, but I have spent almost my entire adult life in the UK. That experience of belonging to two places, and of seeing the world from more than one vantage point, has deeply shaped my work. I am drawn to images that hold both stillness and energy, nearness and distance, intimacy and vastness. In many ways, my paintings are about that duality.
AD: Your work is already represented internationally. How do you see your career as an artist evolving in the coming years?
SF: I feel fortunate that my work is already reaching people, but I see this very much as the beginning of the journey. My aim is not only to grow representation and exhibition opportunities, but also to continue developing my own voice as a painter. I want the work to remain authentic, rooted in presence, light, and optimism, while also pushing myself technically and creatively. If my first career was about broadcasting to millions, this second one is about creating quiet moments of reflection that resonate personally with individuals around the world.
AD: What message or feeling do you hope viewers take away from your art?
SF: Above all, I hope viewers feel a sense of presence. That they pause for a moment and connect with the atmosphere of the work, whether it’s light on a horizon or the trace of human presence in a city street. If my paintings can encourage someone to slow down, to notice, and perhaps to feel both calm and uplifted, then I feel they’ve done their work.
Samir Farrah, Trouville Sur Mer in the Evening, 2025
AD: Can you tell us the story behind the artwork, "Trouville Sur Mer In The Evening”?
SF: Much of my work explores the tension between presence and absence - what we notice, and what we sense just beneath the surface. This painting captures both, presence and absence. Trouville Sur Mer is a French coastal town that I love and visit often, depicted here from a distance across the water. It is one of my Happy Places, especially a café restaurant called Le Galatée, which you can glimpse here under a red canopy, left of centre in the skyline.
I wanted to highlight the majestic scale of sky and sea - nature, in comparison to whatever humans build and value.
AD: What inspired you to take part in the Art to Collect project?
SF: I was drawn to Art to Collect because it opens up art to a wider audience in a thoughtful, curated way. My own journey into painting came later in life, after decades in international news. That shift, from reporting turbulence to seeking beauty and presence on canvas, made me keenly aware of how art can offer people a moment of pause. This project felt like a meaningful way to share that invitation with new viewers and collectors around the world.
Main Image: Samir Farah, The Woods at Night - Part 2, 2025