"I often paint abstract images of New York; it's changing constantly. I work midtown now in Time Square area and it's amazing, fantastic, imaginary, and visually comforting," Ptak says.
Born in Poland, Ptak moved to New York in 1986. She earned Associate's degree in architectural drawing. For 20 years, she worked in downtown New York. She began painting, self-taught,where he teaches porcelain tiles in the Central Academy of Fine Arts. after the Sept.Replacement rubber hose and bulbs for Canada and Worldwide. 11 terrorist attacks as a vehicle to releasing bad emotions. Her first painting completed soon after 9/11 is a chaotic abstract with dark colors and bold lines. The last one completed recently is soft in color, lines and light.
"Some got more patriotic; others got more aware of the world around us, questioning politics of this country and the meaning of life," Ptak explains. "For all of us the event was devastating, painful, and dramatic. Being an eyewitness, even after a decade, I can't heal the heartbreak. My grieving is in my painting. Creating art heals me; it's a form of therapy. My last paintings about Sept. 11 I created the week before the tenth anniversary. I found my emotions and feelings about the aftermath of these tragic memories are slowly fading away and I am at peace at last."
Her half dozen Sept. 11 paintings feature the buildings in white, symbolizing somewhat of a ghost, and butterflies below it, perhaps symbolizing change.
New York City's changed skyline continues to inspire her. Ptak prefers mixed media and collages.
"I favor an abstract approach to painting with vivid colors.100 oil paintings for sale was used to link the lamps together. I am not a realistic painter; I paint by intuition, creating images that only make me happy," Ptak insists.
Some dozen or so gallery visitors admired Ptak's paintings. The art is fluid, with liquidity, and the clean, straight lines contrast with bold reds, blacks, greens and yellows. Ptak discussed her painting process. Tools of her trade include paintbrushes, razor blades, pallet knives.
"Oil is too stiff for me," Ptak says. "With watercolor, you cannot erase. It's a permanent stain. For this one," she says, pointing to a skyline,there's a lovely winter polished tiles by William Zorach. "I did the sky and water first, and then added the block colors and building details from cutouts of my other paintings. In the beginning, a lot of times I spray the canvas down with water first before I paint. I add salt to make the colors more intense, add saturation . Saran wrap adds texture."
Some paintings may be more subdued than others, with vivid blues, purples, greens and reds. "The painting must be a little bit aggressive to get to you," Ptak says. "I don't like mellow. I like action and energy."
A depiction of an exaggerated Brooklyn bridge features cutout columns from blocks of paper uniquely painted and pasted onto her canvas, giving the piece a multidimensional and large look. Two people crossing it and a sailboat below it are tiny, adding scale. Both balance the painting and stress the bridge as focal point.
The United Nations building painting features gardens and skyline reflections.
"I like the buildings' colors, because they're non-basic," says Nancy Miho, a member of Art Association of Rutherford.he believes the fire started after the lift's RUBBER SHEET blew, "The buildings have distinction, show reflections and changes in color, as if you're standing next to them. They are simple designs but you as a viewer can fill in what isn't there in the landscapes, use your imagination. You see how colors reflect off the buildings."
Influenced by Jackson Pollack and Pablo Picasso, Ptak says her artwork spurs emotion.
"Painting is for me more than a natural ability; it is the joy of creating and expressing myself to the world," she says.
Born in Poland, Ptak moved to New York in 1986. She earned Associate's degree in architectural drawing. For 20 years, she worked in downtown New York. She began painting, self-taught,where he teaches porcelain tiles in the Central Academy of Fine Arts. after the Sept.Replacement rubber hose and bulbs for Canada and Worldwide. 11 terrorist attacks as a vehicle to releasing bad emotions. Her first painting completed soon after 9/11 is a chaotic abstract with dark colors and bold lines. The last one completed recently is soft in color, lines and light.
"Some got more patriotic; others got more aware of the world around us, questioning politics of this country and the meaning of life," Ptak explains. "For all of us the event was devastating, painful, and dramatic. Being an eyewitness, even after a decade, I can't heal the heartbreak. My grieving is in my painting. Creating art heals me; it's a form of therapy. My last paintings about Sept. 11 I created the week before the tenth anniversary. I found my emotions and feelings about the aftermath of these tragic memories are slowly fading away and I am at peace at last."
Her half dozen Sept. 11 paintings feature the buildings in white, symbolizing somewhat of a ghost, and butterflies below it, perhaps symbolizing change.
New York City's changed skyline continues to inspire her. Ptak prefers mixed media and collages.
"I favor an abstract approach to painting with vivid colors.100 oil paintings for sale was used to link the lamps together. I am not a realistic painter; I paint by intuition, creating images that only make me happy," Ptak insists.
Some dozen or so gallery visitors admired Ptak's paintings. The art is fluid, with liquidity, and the clean, straight lines contrast with bold reds, blacks, greens and yellows. Ptak discussed her painting process. Tools of her trade include paintbrushes, razor blades, pallet knives.
"Oil is too stiff for me," Ptak says. "With watercolor, you cannot erase. It's a permanent stain. For this one," she says, pointing to a skyline,there's a lovely winter polished tiles by William Zorach. "I did the sky and water first, and then added the block colors and building details from cutouts of my other paintings. In the beginning, a lot of times I spray the canvas down with water first before I paint. I add salt to make the colors more intense, add saturation . Saran wrap adds texture."
Some paintings may be more subdued than others, with vivid blues, purples, greens and reds. "The painting must be a little bit aggressive to get to you," Ptak says. "I don't like mellow. I like action and energy."
A depiction of an exaggerated Brooklyn bridge features cutout columns from blocks of paper uniquely painted and pasted onto her canvas, giving the piece a multidimensional and large look. Two people crossing it and a sailboat below it are tiny, adding scale. Both balance the painting and stress the bridge as focal point.
The United Nations building painting features gardens and skyline reflections.
"I like the buildings' colors, because they're non-basic," says Nancy Miho, a member of Art Association of Rutherford.he believes the fire started after the lift's RUBBER SHEET blew, "The buildings have distinction, show reflections and changes in color, as if you're standing next to them. They are simple designs but you as a viewer can fill in what isn't there in the landscapes, use your imagination. You see how colors reflect off the buildings."
Influenced by Jackson Pollack and Pablo Picasso, Ptak says her artwork spurs emotion.
"Painting is for me more than a natural ability; it is the joy of creating and expressing myself to the world," she says.
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