My work alternates between studies of early aviation to stories of the old west. The duality of my subject matter may seem confusing to some, but for me the two subjects compliment each other nicely. Aviation subjects allow me to create dynamic compositions with geometric forms and lines, while western subjects offer me a chance to work with more organic forms and a broader palette of visual textures.

In addition to my role as artist I am also a storyteller, and it is the stories that are the common thread with my work. Regardless of whether it is the character etched in a cowboy’s face or a tale of heroism and bravery on the Western Front, I love to engage the viewer with stories of humanity under extreme conditions. I also enjoy the challenge of creating historical narratives that are also works of fine art. While doing so I try to strike a fine balance in my work between technical, visual, emotional and, when applicable, historical accuracy. By balancing all of these elements I can provide the necessary information to fully describe a place or an event, while at the same time infusing a painting with the life, emotion and experience necessary to give the viewer a more visceral experience.

Most of my aviation subjects come from the period of World War One, and my work is a study of men and machinery during that terrible period. Placed against the brutal backdrop of the war, stories of deep courage, compassion and sacrifice seem all the more profound and dramatic. I am intrigued by the juxtaposition of styles from World War One - the old “classical” war and the new “modern” war.

In contrast, western art offers me the opportunity to explore the characters and stories of people who were shaped, and sometimes pitted against their environment. I enjoy exploring the mythology of the old west and I see parallels between the lone cowboy or outlaw and the artist forging his own destiny with his artwork. With western art I can combine three genres - landscape, portraiture and wildlife - under one umbrella to help narrate the story of the American west as it evolved over 2 centuries.

A majority of my work is created in oils, and I find that I best express myself using the techniques of the Classical Realists. I prefer this methodical, step-by-step approach because it allows me time to give thoughtful consideration to each painting. However, in order to further evoke a visceral experience with my paintings, I also try to take my work outdoors and paint plein-air whenever possible. I find that the addition of the plein-air study to the classical technique helps me to combine the intellectual nature of one with the emotional nature of the other and lends a spontaneous sense of place, which is difficult to simulate when working exclusively in a studio.

- Russell Smith