Natasha Joseph is a figurative painter who works in oil, oil stick and acrylic with oil pastel, turning the glamour and ritual of modern social life into bright, knowing pictures. Martinis, Chanel, vintage telephones and Carrie-Bradshaw nightlife recur across her work — luxury and femininity observed with affection and a wink, stylish and intimate and quietly satirical at the same time. Her available originals at Art of NOMA are one-of-a-kind pieces made in 2025, priced from USD $825 to USD $2,393.
Glamour, Ritual and a Knowing Wink
Joseph's subjects are objects and moments that most people would call frivolous, and she takes them completely seriously without ever losing the joke. A lipstick is desire and self-presentation folded into a single tube. A telephone is connection anticipated, awaited or remembered. The affection is real; so is the satire, and the two never cancel each other out.
That double register is harder to hold than it looks. Too much reverence produces advertising; too much distance produces a lecture. Joseph stays in between by keeping the mark-making frank — you can see the hand moving, the pressure changing — while the subject itself stays composed and glossy. The surface admits effort; the subject pretends there was none. That tension is the actual content of the work.
Rouge Hermès Lipstick, 60 × 50 cm (23.62 × 19.69 in), USD $2,393, is the clearest statement of that method — saturated red, confident marks, a familiar cultural code read as identity. Pink Telephone, also 60 × 50 cm (23.62 × 19.69 in) at USD $1,815, does the same work in a softer register: the object is dated enough to read as memory rather than possession, which changes the emotional temperature entirely.
What Does Natasha Joseph Actually Paint?
Three threads run through the work. The first is the luxury object: Chanel and Hermès appear less as brands than as shorthand for taste, aspiration and the way people signal who they want to be. Chanel Store pulls the shop itself out of its commercial function, at 29.7 × 21 cm (A4), USD $825, while Chanel Mint Green and Chanel Leopard Print, both A4 at USD $825, use palette and pattern as emotional tone. Read together, the three function as variations on a theme rather than repetitions of a motif — the same code played in different keys.
The second thread is fashion's printed archive. Vogue March 1965 and Vogue October 1967, each 29.7 × 21 cm (A4) at USD $825, treat mid-century editorial imagery as a record of how ideals of elegance were manufactured and still circulate. A magazine cover was a mass-produced instruction in how to want things; painting one by hand, sixty years later, turns that instruction back into an object someone made.
The third is the social evening itself — the gathering, the drink, the morning after. Shaken, Not Stirred, 50 × 40 cm (19.69 × 15.75 in), USD $2,244, channels the poise behind an iconic phrase rather than illustrating it. Carrie Bradshaw New Year's Eve, A4, USD $825, catches vulnerability edged with anticipation. Summer Soirée, 40 × 50 cm (15.75 × 19.69 in), USD $935, evokes a whole evening through tone alone, and Breakfast in Paris, 40 × 30 cm (15.75 × 11.81 in), USD $825, holds the quiet indulgence of the next morning.
Oil Stick on Canvas, Pastel on Paper
The medium changes with the register. On canvas Joseph works in oil or oil stick — oil stick keeps her hand visible in bold, confident marks that stay soft enough to hold tonal variation, which suits the immediacy of a lipstick or a telephone. Straight oil, as in Summer Soirée and Shaken, Not Stirred, gives smoother transitions and a composed, self-aware surface.
Oil stick matters more here than it might sound. Because the pigment is delivered directly from a solid stick rather than through a brush, there is no intermediary — the line is the artist's arm speed and pressure recorded at full size. It resists correction. That gives the canvases a decisiveness that reproduces poorly online and reads immediately in person, which is one reason the larger oil-stick works sit at the top of her price range.
The works on paper combine acrylic and oil pastels: acrylic for clarity, contrast and structure, oil pastels for texture, warmth and gesture. They are all A4, 29.7 × 21 cm, and they ship framed in A3 with a white A4 mount. The canvases arrive mounted on a professional wooden frame. Every piece, on paper or canvas, is one of a kind and comes with a certificate of authenticity.
Where Joseph Sits Among Her Peers
Joseph belongs to a group of painters working the seam between popular imagery and real feeling — a strand of contemporary figuration that rewards looking twice. Art of NOMA represents several artists on adjacent ground, and the comparison clarifies what is specific to her.
Pia Dehne approaches cultural memory through construction and erasure. Tammi Terrell — acrylic, coffee and pastel pencil on fabric, 2022, 122 × 101 cm (48.03 × 39.76 in) — reads less as a likeness than as a tribute, the image built up, scratched back and rebuilt until presence emerges from material rather than resemblance. Where Joseph's surfaces stay confident and immediate, Dehne's carry the record of their own revision.
Jade Tantillo works western and old-Hollywood iconography for the same reason Joseph works Chanel: as inherited visual language that carries feeling. Midnight Rider, hand-drawn and painted mixed media on canvas, 2024, 152.4 × 152.4 cm (60 × 60 in), holds humor against tenderness without tipping into sweetness — a balance Joseph strikes at a much smaller scale and in a very different register.
And Tori Pounds shares Joseph's instinct for the emotional charge of a familiar object. Dorothy Shoes, oil on canvas, 2024, 60 × 50 cm (23.6 × 19.7 in), reaches for a shoe as a symbol of journey and transformation, keeping the object present but never fully explained. Joseph's version of that move is sharper-edged and more social; Pounds's is dreamier. Collectors drawn to one usually find something in the others.
Prices, Sizes and Where to Start
Joseph's work has an unusually clear entry point. The A4 works on paper are all USD $825, which makes them one of the more accessible ways to own an original by a working contemporary painter — and because each is one of a kind, there is no edition or reproduction sitting behind it. Breakfast in Paris matches that price on canvas at 40 × 30 cm.
From there the range steps up with scale and medium: Summer Soirée at USD $935, Pink Telephone at USD $1,815, Shaken, Not Stirred at USD $2,244 and Rouge Hermès Lipstick at USD $2,393. Every one of those figures is published on the work's own page rather than held back for an enquiry.
That matters for anyone buying at this level for the first time. Price-on-request is standard in much of the gallery world, and it functions as a filter as much as a courtesy. Seeing the full range at once shows how an artist's pricing is structured — by size, by medium, by the time a work represents — before you commit to anything.
See everything currently available in the Natasha Joseph collection, browse the gallery's wider selection of original paintings, or read about the other artists represented by Art of NOMA. The gallery is online only, with no physical space, and every work carries a published price — there is no enquiry step between you and knowing what a painting costs. If a specific piece holds your attention, the fastest way to ask about condition, framing or shipping is directly from that work's own page.