His work that includes drawing, sculpture, performance and installation, often incorporating slide and film projections, lighting effects, computer and electronic technology.
A Canada Council Arts Bursary in 1970 allowed him to devote himself to quit painting to pursue his other interests – guitars, machines, airplanes, and experiments with film images and inventions.
The formative years of Favro’s practice in the 1960s were marked by a growing desire to collapse the boundaries between art and life.
In contrast to Andy Warhol’s Factory led the American Pop Art movement of the period, Favro resisted the mass-produced image and object.
[4] Significant works over the course of his eclectic career include "projected paintings" such as Country Road (1971–72), Synthetic Lake (1972–73) and Van Gogh’s Room (1973–74), reconstructions such as Sunlight on Table and Floor (1990) and Hydro Pole (1995–96), and a series of drawings and mechanically-improvised constructions of flying machines, their parts and hand tools, that include Sabre Jet, 55% Size (1979–83) and Air Compressor and Turbine (1996–97).