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Nicolas Party
Nicolas Party
Nicolas Party
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Nicolas Party (born July 1, 1980) is a Swiss visual artist. He lives and works in New York City and Brussels. He is known for his multi-media interdisciplinary immersive exhibitions.

Key Information

Biography

[edit]

He received his BFA degree from the École cantonale d'art de Lausanne in 2004 and his MFA from the Glasgow School of Art, in Glasgow, Scotland in 2009.[1][2][3]

Party's work has been the subject of solo exhibitions at the Montreal Museum of Fine Arts, Montreal, the Magritte Museum in Brussels,[4] the Dallas Museum of Art, and the Hirshhorn Museum.[5][6] For his second exhibition at the Hirshorn Museum which ran from September 18, 2021 until the spring of 2022 he created his largest work to date Draw the Curtain, it "wraps 360 degrees around the temporary scaffolding that encases the Museum building and spans a circumference of 829 feet". It is an "original pastel painting digitally collaged and printed onto scrim".[6] Party’s exhibition "When Tomorrow Comes" at the Museum Frieder Burda is the Swiss artist’s first museum presentation in Germany.[7] Party' primary medium of choice is pastel.[8]

Party is represented by Hauser & Wirth, The Modern Institute, Kaufmann Repetto, Gregor Staiger, Karma and Xavier Hufkens.[6] In February 2020 he had his first solo exhibition, "Scottsboro" with Hauser & Wirth at their Los Angeles, California venue. In 2017 he had his first solo exhibition, "Three Season" with Xavier Hufkens.[9]

Among the artists Party cites as having influenced his painting are Rosalba Carriera, Félix Vallotton, Milton Avery, Pablo Picasso, and Giorgio Morandi.[10]

Party's landscapes often draw from or even directly cite styles and motifs from a diverse set of contemporary painters and painters of previous generations, including Salvo, a similarity picked up at a number of exhibitions.[11][12]

Bibliography

[edit]

References

[edit]
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Nicolas Party

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Nicolas Party (born 1980) is a Swiss visual artist known for his figurative paintings, murals, sculptures, and installations that blend vibrant colors with surreal and biomorphic forms, often drawing from art historical references ranging from to 20th-century . Based in New York and , Party's work frequently explores themes of nature, portraiture, , and the boundaries between representation and abstraction, employing media such as pastels, wood panels, and large-scale wall frescoes to create immersive, unsettling yet familiar environments. Party was born in Lausanne, Switzerland, and studied fine arts at the École cantonale d'art de Lausanne (ECAL), earning a BFA in 2004, before completing an MFA at the in 2009. Early in his career, he gained recognition through and influences, later transitioning to gallery-based practice while incorporating elements of , , and artists like , , and . His style is characterized by precise compositions, androgynous figures, pastoral scenes, and fruit arrangements rendered in soft pastels and bold hues, challenging traditional genres through minimal detail and material experimentation. Party has held numerous solo exhibitions worldwide, including at the Hirshhorn Museum and Sculpture Garden in Washington, D.C. (2021–2022), the Hammer Museum in Los Angeles (2016), the Frick Collection in New York (2023), and Hauser & Wirth in London and New York (ongoing through 2025). He received the Swiss Art Award in 2008 and his works are held in prominent collections such as the Albright-Knox Art Gallery, the Hirshhorn Museum, and M+ Museum in Hong Kong. Notable public projects include site-specific murals at the Hirshhorn Museum (2021) and collaborations with RxArt (2020), underscoring his engagement with institutional spaces and contemporary discourse on painting's evolution.

Early Life and Education

Childhood in Switzerland

Nicolas Party was born in 1980 in , , and grew up in the nearby village of Villette, nestled between and amid vineyards, , and the . The dramatic landscapes of this region profoundly shaped his early visual experiences, with vivid memories of red grapes in autumn and the shifting light on the water fostering a deep appreciation for . From around age six or seven, Party began creating art during playtime, often drawing on walls despite parental restrictions to use paper only, marking the start of his lifelong engagement with visual expression. By age nine or ten, Party was painting watercolor inspired by the surrounding vineyards, lakes, and mountains, encouraged by his parents who provided books on . His family played a supportive role in nurturing this interest; his grandmother purchased his teenage , while his great-grandmother's hobby of furniture influenced him, and he still owns some of her pieces. Party also admired local Swiss landscape painter François Bocion (1828–1890), whose works resonated with the celebrated regional scenery, and he frequently visited museums as a child, viewing them as safe and inspiring spaces. At age 14, he transitioned to , further developing his technical skills. Party's adolescence included rebellious artistic pursuits, as he began engaging in at age 12, continuing until his early twenties (from the 1990s into the early ). Part of a close-knit group, he participated in nighttime escapades tagging trains and creating murals with classic letters, monsters, and comic-book characters, using pseudonyms like "SEAM" and "REAL." Influenced primarily by a single graffiti magazine, he developed a distinctive style blending figuration with block lettering, though these activities led to fines after being caught by authorities. He left high school before graduating, prioritizing his artistic explorations over formal education. These early experiences in —merging traditional with subversive —laid the foundation for his later multidisciplinary practice.

Formal Training and Influences

Nicolas Party's entry into the art world began outside formal institutions, influenced by his early involvement in starting at age 12 and watercolor landscapes he painted from ages 9 to 10. He left high school before graduating and initially pursued studies in design and for two years at the École de multimédia et d’art de , though he departed as the curriculum shifted toward increased computer use. This period laid a foundation in , blending his background with emerging media techniques. Party then enrolled at the École cantonale d’art de (ECAL), where he began in the cinema department before transferring to , earning his BFA in 2004. At ECAL, he was notably shaped by instructor John Armleder, whose experimental wallpapers and interdisciplinary approach encouraged Party's shift toward murals and site-specific works, a practice common among Lausanne students at the time. He later pursued an MFA at the , completing it in 2009, which broadened his technical skills in painting and installation while exposing him to a more international contemporary art dialogue. During his studies at ECAL, Party gave up at age 21 to focus on , marking a pivotal transition in his practice. Party's artistic influences draw heavily from art historical traditions, particularly the period and pastel techniques, with standing out as a major inspiration for her figurative pastels, which he considers among the finest in the medium. He cites Pablo Picasso's 1962 pastel Tête de Femme as a "love at first sight" encounter that prompted his own exploration of the material, alongside admiration for David Hockney's vibrant Yorkshire landscapes and their realistic yet bold color use. Swiss painters like and inform his symbolic landscapes and figures, reflecting his native visual traditions, while broader references include 17th-century Flemish artist Otto Marseus van Schriek's depictions of forest creatures, Caspar David Friedrich's , and Georgia O'Keeffe's nature motifs. Early admiration for François Bocion's seascapes further ties his work to Swiss regionalism, emphasizing a fascination with nature's and human-nature relationships derived from art catalogs and museum collections. These influences converge in Party's eclectic style, blending , frescoes like Fra Angelico's, and modernist abstraction.

Artistic Career

Early Works and Exhibitions

Party's early artistic output, emerging shortly after his 2009 graduation from the , was deeply influenced by his background in and during his youth in . Transitioning from urban interventions to more formal studio practices, he began exploring traditional genres like and through unconventional mediums such as soft , watercolors, and murals. These works often incorporated whimsical, surreal elements—featuring motifs like elephants, teapots, and sausages—blending figurative precision with vibrant, saturated colors to create unsettling yet playful compositions. His initial paintings on paper and canvas emphasized tactile surfaces and pattern-making, reflecting a fascination with the decorative and the domestic, while murals extended this experimentation into architectural spaces. In 2010, Party mounted several solo exhibitions that marked his entry into the contemporary art scene, primarily in and . At in , "Teapots and Sausages" showcased small-scale drawings and paintings juxtaposing everyday objects in absurd arrangements, highlighting his interest in as a vehicle for humor and distortion. Similarly, "Elephants, Spoons and Sausage Rolls" at Le Rez de Chaussee in featured hand-painted wall interventions and sculptural elements, foreshadowing his later large-scale installations. These early shows demonstrated his versatility across media, from ephemeral drawings to site-specific patterns, and established recurring themes of and the in nature. Group appearances, such as "New Work Scotland" at Collective Gallery in , further introduced his colorful, illustrative style to broader audiences. By 2011–2012, Party's exhibitions gained international traction, with solos in , , and New York emphasizing murals and immersive environments. "Dinner for 24 Elephants" at The Modern Institute's Upstairs space in transformed the venue into a banquet-like installation with painted walls and sculptural "tables" laden with illusory foods, critiquing social rituals through exaggerated scale. His breakthrough in the U.S. came with "Still Life, Stones and Elephants" at Swiss Institute in New York (2012), where trompe l'oeil stone sculptures, paintings, and sprawling blue-patterned murals created a dreamlike gallery atmosphere, merging with performance-like viewer engagement. These works solidified his reputation for revitalizing classical subjects with contemporary irreverence. The year 2013 brought Party's first major solo at The Modern Institute in , "Still Life Oil Paintings and Watercolours," which paired meticulous oil renderings of fruits and vases with expansive, ethereal landscapes on paper. This exhibition underscored his shift toward oil on and larger formats, while a public titled "" in 's city center—his first commissioned outdoor work—applied chalk pastels to a building facade, drawing crowds with its vivid, otherworldly foliage. These projects not only expanded his thematic range to include portraiture hints but also highlighted his growing command of , bridging private studio practice with urban intervention. By this point, Party's early oeuvre had evolved from roots into a cohesive body of work celebrated for its coloristic boldness and genre subversion.

Rise to International Prominence

Party's international profile began to emerge in the early through strategic exhibitions in that showcased his evolving practice of and pastel works. In 2013, he gained early critical attention with Landscape, a large-scale public commissioned for The Project in , , which transformed an urban wall into a vibrant, surreal scene and marked his shift from graffiti-influenced to institutional recognition. This project, displayed from April to September 2013, highlighted his ability to blend traditional motifs with contemporary abstraction, drawing praise for its immersive scale and color palette. A pivotal breakthrough came in 2014 with his first major solo institutional exhibition, Landscape, at Kunsthall Stavanger in , where Party created site-specific installations combining paintings, sculptures, and environmental elements inspired by Norwegian Romantic painter Adolph Tidemand. The show, running from to August 2014, emphasized his thematic interest in nature's uncanny aspects and received acclaim for revitalizing historical genres through modern techniques. Building on this momentum, Party's 2015 solo exhibition Boys and Pastel at Inverleith House, , further solidified his European reputation; the installation enveloped the historic venue in pastel murals and sculptures depicting figurative nudes and botanical motifs, earning reviews for its bold redecoration of space. Party's transition to broader international prominence accelerated in 2016 with Hammer Projects: Nicolas Party at the in , his first major U.S. solo show, featuring murals, still lifes, and portraits that explored gender and nature in vibrant pastels. This exhibition, on view from September 2016 to January 2017, introduced his work to American audiences and critics, who noted its dialogue with art historical traditions like those of and . Subsequent shows, such as Sunrise, Sunset at the in , in 2017, and Magritte parti at the Magritte Museum in in 2018, amplified his global reach by juxtaposing his pieces with canonical surrealists, fostering discussions on representation and abstraction. By 2019, Party's ascent was evident in market and institutional milestones, including his representation by and a solo exhibition Pastel at The FLAG Art Foundation in New York, where immersive installations of colored walls and sculptures underscored his command of spatial dynamics. Auction records reflected this growth, with works like (2015) selling for $608,000 at Phillips in May 2019, signaling strong collector interest. These developments positioned Party as a leading figure in contemporary figurative painting, with his practice influencing discourses on color, form, and installation across continents.

Artistic Style and Themes

Mediums and Techniques

Nicolas Party primarily employs soft as his signature medium, valuing its immediacy and vibrancy for creating landscapes, portraits, and still lifes that blend with classical traditions. He applies pastel directly to prepared surfaces such as or , often using his fingertips to blend colors and carve forms, allowing for fluid transitions and intense saturation without the need for mixing, unlike oil paints. This hands-on technique emphasizes the medium's fragility and temporality, where the powdery pigment can smudge or fade, evoking a sense of in his works. For instance, in exhibitions like "Draw the Curtain" at the Hirshhorn Museum, Party painted original pastel compositions that were digitally collaged and printed on large-scale scrims to envelop architectural spaces. In addition to pastel, Party works in oil on copper and canvas, particularly for still lifes and landscapes, where he achieves luminous effects through layered applications that reference historical genres while introducing contemporary distortions. For example, in the Copper & Dust exhibition at the (May–August 2025), Party presented intimate paintings on depicting landscapes, still lifes, and portraits. His watercolor landscapes, often executed on , capture ethereal, dreamlike scenes with loose, translucent washes that highlight atmospheric depth. These traditional painting methods are complemented by site-specific murals, frequently in or acrylic, painted directly onto walls to transform gallery or public spaces into immersive environments; notable examples include temporary installations that "disappear" over time due to the medium's impermanence. Party extends his practice into sculpture and installation through ceramics, where he crafts painted busts and figurative elements inspired by , often placed on marble plinths to play with illusion and scale. He also incorporates , an inlay technique using polished stones to create intricate, durable compositions that contrast the transience of his pastels. These diverse approaches—spanning , , and three-dimensional forms—allow Party to explore color, form, and space in multifaceted ways.

Recurring Motifs and Symbolism

Nicolas Party's artwork frequently features trees as a central recurring motif, often rendered in vibrant to evoke the passage of time and cycles of renewal. Party's recurring tree motifs feature leafless branches and glowing pink trunks symbolizing mortality and seasonal transformation, drawing inspiration from Canadian painter Lawren Harris's stark winter scenes. These arboreal forms appear in exhibitions like Clotho at (2025), where pastel treescapes contrast lush foliage with skeletal structures to represent life's impermanence. Landscapes in Party's oeuvre blend with modernist influences, using saturated colors to create dreamlike environments that challenge perceptions of reality. Pink-hued trees and crimson moons, as seen in Blue Sunset (2018), symbolize fantasy and emotional depth, echoing fresco techniques while incorporating Surrealist psychological undertones from artists like René Magritte. In the Rovine exhibition at MASI (2021–2022), expansive landscapes formed one of five dedicated environments, alongside rocky views and caves, to explore natural decay and human transience. Figurative elements, particularly stylized portraits and disembodied heads, recur as symbols of identity and fragility. Androgynous busts with oversized eyes, featured in the Karma print series (2017) and the Frick Madison mural (2023), float in ethereal spaces to confront themes of self and otherness. In Clotho, Party references mythological sculptures by and , using aged female forms to symbolize inevitable decay and the Greek Fates' thread of life. Still lifes, such as Still Life with an Olive (2012–2013), abstract everyday objects into surreal compositions that blend familiarity with existential unease, influenced by early 20th-century modernists like . Other motifs, like the seahorse in select works, represent partnership and biological inversion, highlighting themes of fluidity and reversal in nature. Overall, Party's symbolism draws on mythology and Surrealism to meditate on mortality, renewal, and the blurred boundaries between human and natural worlds, often amplified through murals and site-specific installations.

Major Works and Exhibitions

Key Paintings and Installations

Nicolas Party's paintings often draw from traditional genres such as , portraiture, and , reimagined through vibrant techniques that evoke and . A representative example is Landscape with Birds (2017), a soft on measuring 55 x 51¼ inches, featuring geometric forms and avian motifs in saturated colors that blend natural elements with abstracted . Similarly, with Old Vegetable (2017), executed in soft on pastel card (32⅛ x 24¼ inches), subverts classical conventions by depicting decayed organic forms in jewel-toned hues, emphasizing themes of transience and artificiality. Party's portraits, such as Red Portrait (2017, soft on pastel card, 31½ x 22¼ inches), present stylized figures with exaggerated features and bold coloration, challenging viewer perceptions of identity and representation. These works highlight his mastery of as a medium, allowing for luminous, dreamlike effects that connect historical influences like with contemporary unease. More recent paintings, like Cave (2020, soft pastel on linen, 56 x 53 inches), explore enclosed, introspective spaces with layered colors that suggest psychological depth and isolation, reflecting Party's evolving engagement with interiority amid global events. His recent soft pastel paintings, such as Portrait with Camille (2025) from the Clotho exhibition, incorporate mythological references inspired by sculptures from Camille Claudel and Auguste Rodin, rendered in a signature vivid palette to merge classical portraiture with modern abstraction. These pieces underscore Party's commitment to figurative painting while pushing boundaries through unconventional supports and thematic ambiguity. Party's installations frequently transform architectural spaces into immersive environments, integrating murals, sculptures, and performances to engage viewers sensorially. Draw the Curtain (2021), his largest work to date, wrapped the exterior of the Hirshhorn Museum's cylindrical building in , spanning 829 feet; this site-specific project used digitally printed scrim based on original pastels, depicting curtained faces in black-and-white and colorful draperies to explore illusion and concealment, drawing from 17th-century Dutch painting and . Earlier, sunrise, sunset (2017) at the same museum featured painted architectural elements and sculptures that altered the gallery's perception of light and time. Notable among his performative installations is Dinner for 24 Sheep (2017) at The Metropolitan Opera's Gallery Met in New York, where sheep sculptures dined at a table laden with floral arrangements, blending absurdity and elegance to critique social rituals through anthropomorphic whimsy. In 2023, Party created an untitled site-specific pastel mural at Frick Madison, enveloping three walls in elaborate draperies that framed Rosalba Carriera's 18th-century portrait and two new Party portraits, commemorating the 350th anniversary of Carriera's birth and dialoguing with historical pastel techniques. Public murals like (2013) in further exemplify his early site-responsive works, using bold colors on urban surfaces to infuse everyday spaces with fantastical narratives. Through these installations, Party creates temporary worlds that invite reflection on perception, history, and the viewer's role.

Solo and Group Shows

Nicolas Party has presented numerous solo exhibitions at prestigious institutions and galleries worldwide, showcasing his vibrant landscapes, still lifes, and site-specific installations. His first major institutional solo show, Hammer Projects: Nicolas Party, took place at the in in 2016, featuring large-scale pastel drawings and paintings that transformed gallery spaces into immersive environments. In 2021, Rovine at MASI explored themes of ruins and nature through monumental murals and sculptures, marking a significant presentation in his native . Other notable solos include Dust at the Hoam Museum of Art in , , in 2024, which highlighted his dust-hued landscapes and figurative works, and Clotho at in in 2025, presenting new paintings inspired by mythological weaving. Party's collaborative solo exhibition Nicolas Party and at The in New York in 2023 juxtaposed his contemporary pastels with the 18th-century Italian painter's portraits, drawing parallels in color and composition. Earlier, Pathway at the in 2016 featured a monumental installation of colored trees and rocks, emphasizing his interest in artificial nature. Commercial gallery solos, such as at Kaufmann Repetto in in 2024 and Ewe in the Field at The Warehouse in in 2024, continued to explore motifs with bold, synthetic palettes. In group exhibitions, Party's works have been included in surveys of contemporary painting and . At in 2024, Forbidden Territories: 100 Years of Surreal Landscapes featured his eerie, dreamlike alongside historical surrealists, underscoring his modernist influences. The 2024 exhibition Shanshui: Echoes and Signals at M+ Museum in incorporated his paintings into a dialogue on traditional Chinese landscape traditions and modern . In 2025, Breaking the Mold: Brooklyn Museum at 200 at the showcased his contributions to rethinking institutional narratives through color and form. Earlier group shows include On the Razor's Edge at Museo Jumex in Mexico City in 2020, where his still lifes engaged with themes of perception and reality, and La Vie simple - Simplement la vie at Fondation Vincent van Gogh Arles in 2017, placing his sheep motifs in conversation with van Gogh's rural scenes. These presentations highlight Party's ability to integrate his practice into broader art historical contexts, from surrealism to color theory.

Recognition and Legacy

Awards and Honors

Nicolas Party has received several notable awards recognizing his contributions to contemporary art, particularly in painting, murals, and public installations. In 2008, Party was awarded the Swiss Art Award at Art Basel Messe in Basel, Switzerland, a prestigious prize for emerging Swiss artists that highlights innovative practices in visual arts. Party received the RxART Inspiration Award in 2019 from the nonprofit organization RxART, which honors artists for their work in creating healing environments through art in children's hospitals; this accolade acknowledged his upcoming mural project at Children's Hospital Los Angeles. In 2024, Party was honored as the recipient of the Award of Excellence for Artistic Contributions to the Fight Against AIDS at the TWO x TWO for AIDS and Art benefit gala in , , celebrating his support for 's initiatives combating through artistic philanthropy.

Critical Reception and Influence

Nicolas Party's work has garnered widespread critical acclaim for its bold use of color, revival of the medium, and ability to blend art-historical references with contemporary , often creating landscapes, portraits, and still lifes that feel both familiar and disorienting. Critics have praised his figurative paintings for their anthropomorphic qualities and uncanny figures, which challenge traditional representation while drawing on influences from to modern masters. His choice of soft as a primary medium in the 21st century has been highlighted as idiosyncratic yet innovative, allowing for intense saturation and a fugitive quality that underscores themes of transience and illusion. In reviews of key exhibitions, Party's installations have been celebrated for their immersive and mischievous engagement with space and history. For instance, his 2019 "Pastel" show at The FLAG Art Foundation was described as an "extraordinary exhibition" that recontextualized the underappreciated medium through site-specific s and historical pairings, with Party's hyper-chromatic works commanding attention through bold forms and gallery transformations in vibrant hues like . Similarly, his 2015 presentation at Inverleith House in was noted for infiltrating the entire venue with decorative s and drawings that pastiched trends from Hockney to Matisse, creating a "heady mix of samplings and quotations" that was uplifting despite its potential to overwhelm. More recent works, such as the 2025 "A Brawl Between Peasants, After Benjamin Gerritsz" at the , have been lauded for their "grim, funny" reinterpretation of 17th-century Dutch , demonstrating Party's deep art-historical knowledge and seamless integration with institutional collections. These responses underscore a consistent appreciation for Party's ability to make historical mischief feel radically modern. Party's influence extends to reshaping contemporary by revitalizing techniques and surrealist elements, inspiring a renewed interest in color-saturated, medium-specific explorations among younger artists. His audacious sense of color and flair for the have positioned him as a pivotal figure in the , encouraging boundary-pushing in and portraiture genres that echo digital and historical interpretations. Through exhibitions at institutions like the Hirshhorn and , his transportive works have impacted discussions on , , and medium in 21st-century , fostering a legacy of formal innovation and thematic depth.

Bibliography

Selected Publications

Nicolas Party's written contributions to art publications are selective, often appearing as texts or conversations in catalogs that reflect his artistic process, influences, and curatorial interests. These pieces provide insight into his engagement with historical mediums like and his interdisciplinary approach to , , and installation. A key example is his 2023 text for Rosalba Carriera's Man in a Pilgrim's Costume, published as part of the Frick Collection's series. In this contribution, Party examines his personal connection to as a medium, drawing parallels between Carriera's 18th-century techniques and his own contemporary practice, emphasizing the material's vibrancy and . Party also participated in a published conversation in the 2021 catalog Pastel: An Exhibition by Nicolas Party, produced by The FLAG Art Foundation for his curatorial project. Alongside artists and founder Glenn Fuhrman, he discusses the historical revival of , its sensory qualities, and the thematic connections between and present works in the show, which he conceived as an immersive environment blending aesthetics with modern abstraction.

Monographs and Catalogues

Nicolas Party's oeuvre has been documented through a series of monographs and exhibition catalogues that highlight his distinctive use of color, form, and installation-based practices. These publications, often produced in conjunction with solo s at major institutions, provide in-depth explorations of his paintings, pastels, murals, and sculptures, featuring essays by curators and critics that contextualize his influences from and contemporary . Key early catalogues include Nicolas Party (2011), published by The Modern Institute/Toby Webster Ltd. in , which accompanied an early solo exhibition and introduced his vibrant still lifes and landscapes. Similarly, Pastel (2014), issued by Galerie Gregor Staiger in Zurich, focused on his pastel techniques, marking a pivotal moment in his exploration of soft, atmospheric mediums. Subsequent publications expanded on specific series and installations. Pastel (2017), published by Karma in New York, revisited his pastel works in a more comprehensive format, emphasizing their Rococo-inspired delicacy. Still Life Paintings (2018), also from Karma, surveyed his interpretations of traditional still life genres with surreal twists. In 2021, Watercolor (Karma, New York) delved into his fluid watercolor experiments, while Pastel: An Exhibition by Nicolas Party (The FLAG Art Foundation) documented a site-specific installation transforming the gallery into a rose-colored environment. That same year, Rovine (MASI Museo d’arte della Svizzera italiana, Lugano, in association with Edizioni Casagrande/Scheidegger & Spiess) catalogued a major survey of his landscapes and figures. The 2022 Phaidon Nicolas Party stands as the artist's first comprehensive career survey, spanning over 200 pages with reproductions of landscapes, portraits, and still lifes, accompanied by essays on his roots and . L'heure (2022), published by The and 5 Continents Editions in , examined his twilight-hued works in the context of a solo show. Recent catalogues continue to trace his evolving practice. Nicolas Party: Dust (2024), from the in , featured essays on his sculptural and painted responses to natural elements. Nicolas Party: When Tomorrow Comes (2024), edited by Udo Kittelmann for the in , explored futuristic themes in his installations. Looking ahead, Nicolas Party: Murals (2025), published by Publishers in New York with an essay by Jamilee Lacy, details his large-scale public and gallery murals as immersive environments.

References

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