Nowicki paints character studies, groups, symbols, interiors, visions and observations – often in regard to the subconscious and self-meditative. He merges together succinct narratives in his paintings that layer memories of his life with a dialogue of the imagination, and a glimpse of a disconcerting ludicrousness.
Memory, imagination and humour are drawn in combinations of acrylic, ink and gouache that generate an internal logic: they may exist concurrently as a recording of a memory, and as an interruption of imagination from a humorous perspective, where the actual and the unreal retain an equal co-existence. Some of his works’ subject matter evolves from automatic suggestion, while others are oblique observations of encountered objects and situations. In The Mezzanine Nicholson Baker describes the sensibility of such recollecting: "the latest in a fairly long sequence of partially forgotten, inarticulable experiences, finally now reaching a point I pay attention to it for the first time." Through editing, erasure and repetition, he allows a generative process, each adaptation generating states of itself, mark-making as the scaffold of imagery. Unpredictability, limitation and expression form a common thread, conditions that also govern human experience.
Characteristic of his practice, these works offer a consideration of the disparities of mind within body, and a belief in the lasting significance of the imaginative and painting as a vital avenue for intuitive and careful self-reflection.