[21] Farish's multi-layer monotypes and prints are characterized by "luminous tones and contrasts surgically presented within mixed media: etching on copper and cardboard, collage with Chinese paper, drawing or added pigment.
[23] Her method of working allows her to develop "variations inside a compositional frame" for each series: Salisbury Plain (1993–1994), Primo pensiero (1995–1997), Dépaysement (2000–2001), Persimmon Prints (2002), Esquisse païenne (2004) et Territoires intimes (2006), Piano Roll Project (2009–2011).
[28] In Art New England, Craig Stockwell wrote: Farish's process is "spontaneous and intuitive: things are torn, tried, painted, added, subtracted, but the surfaces of the works are seamless.
"[29] For Elissa Barnard of The Halifax Chronicle Herald: "The rust and pale gold works, artfully composed in scrawling lines, letter-shapes and splotches, are like ancient maps one keeps exploring".
[31] Vie des arts reviewer André Seleanu noted Zen-like "qualities that seem diametrically opposed: an intense emotion rendered by warm colors (ochres, carmines, red brick and blood) coexist with a tranquility created by flat areas of white and gray.
"[28] Described in Quebec Culture magazine as "one of Québec's most innovative contemporary printmakers",[3] Farish is "known for having perfected many collograph techniques including carborundum, acrylic textured mediums, and for using nontraditional surfaces and found objects.
"[32] Early in her career, Farish worked with François-Xavier Marange at Atelier Circulaire on experimental processes such as drawing on Chine-collé,[6][33] as well as collage with printed, torn, or crumbled traditional handmade paper or washi.
[37][38] An educator, Farish taught printmaking and drawing at the National Theatre School of Canada (1995–2011) in Montreal, and at the Great River Arts Institute in Walpole, Vermont.