Early this morning as I opened the shades in the studio, I watched the morning light change and create patterns against the woods and fields. I was about to run and get the camera, but then I thought, why photograph something you already have seen. Why not translate this experience into a painting?

The camera is never going to be able to put the feel and drama of the moment into something that is 60% visual and 40% experiential. Its that 40% that counts. Its what goes on in the mind and hearts eye. Its the guts of the moment of awe. A camera would have recorded it, and yes, you can fudge around with it a manipulate it with photoshop, but, I like to keep my hands and flesh on the controls as much as possible, and forego the techno-control over the final statement. Thats one of the reasons, I paint. Its the human element that has the last say. It was me that said it, and did it. So later, I took out the sketch book, put it down, and later I painted it. Its a painting. Its not a photograph.

This is it.

11x15

acrylic on paper

Sunrise patterns, against the woods and field.

A Painting? An Illustration? Who cares?

Sometimes subjects just come from something I feel like translating into an image. Its not like the other works in the sense that I'm working the elements of color, and shapes for the sole sake of a finished piece. When there is specific images that are being tossed around, its more of like,.. how do I say this, and still incorporated the basic elements to make it work and make it interesting.

More along the lines of an artistic illustration, than anything.

At least for me, that's how it is.

I find I become bored quicker if my work tends to fall into too much information. So when I do something like this, I try to find ways to keep my interest level up. That might be using colors to my advantage, or shapes to created movement. These kind of works come and go in between my other more art for art creations.

But, nonetheless, I find that somehow they fall into place nicely anyway.

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In Flight

16x20

acrylic on canvas

Just outside, not more than a stones throw away from where I gaze out from the place where I paint, some people call a studio, and I call a room that takes on the appearance of a studio, .. lies these hills.

They constantly change in light and color with the seasons and are more revealed in the winter months. I have done a number of paintings from this exact vantage point many times now, and you have probably noticed a similarity in subject matter if you have been following my paintings. That is because they are. The subject is the same, only the lighting and the seasons change. How convenient for me. These hills and mountains pose permanently for my canvas.

This one in particular I especially like, because I incorporated a stressed surface resulting in a texture that adds an extra interest to the overall work. Its simply called Winter Landscape. Its on a 16x20 stretched canvas and has a light coat of varnish over it. Sometimes, the subjects for an artist are no further away than the back door.

You can find this original piece listed for sale on my Etsy gallery page . russpotak.etsy.com

I'll try to post some other paintings from this location soon, so you can see and compare the way I handled the subjects.