Chet Kempczynski



Kempczynski, a native of Hartford, attended the Hartford Art School and the Paier School of Art, Connecticut, where he studied with the realist painter Ken Davies. Since then, he has exhibited extensively in the US, Spain and France; his work is represented in numerous public and private collections.

Chet Kempczynski builds an almost rectilinear space, with a rhythmic order derived from the artist's absorption of classic modernist tradition; windowsills and counter tops extend in a geometric dance. His art is joyous and fresh, impressionistic glimpses of glass bottles and colorful flowers sparkling against bright windows and gradient cobalt blue seas. His color is hot, rich and emphatic. Light is everywhere, rebounding from colored surfaces. Some paintings continue his investigations with the still life; others are framed through inviting open windows that capture the brilliant Provencal blue, recalling the artist's view from the seaside studio where he worked en plein air in the South of France.

Chet Kempczynski comments on his art: “Since 1994, I have concentrated on still life arrangements near windows or doorways. I am still captivated by light. I continue to paint images showing the relationship light has with color, surfaces and the impact over the viewer. My objective is to capture both exterior and interior light, color and the essence of the place and time which has meant so much to me."

I have been producing and exhibiting oil paintings, oil monotypes, watercolors, pen and ink drawings and prints in New England, France and Spain since 1970 after attending Paier School of Art from 1967 to 1970. During the early 1970's, I continued to paint small and precise still life images in oil. These works centered on marbles in primary colors concentrating on composition and design with stones and sand. By the end of the late 1970s, my paintings gradually had become larger (up to 60 by 120 inches) and more photo-realistic until they took on an almost humanistic quality. As the scale of the work grew, I focused on details on and within the surfaces of the glass objects-the shapes, swirls of colors and light inside creating interior "landscapes". However, many of the pieces took from 1 to 2 months to complete.

In 1980, I started experimenting with monotypes and since then have primarily worked in producing oil monotypes from 3 inches by 3 inches up to 46 inches by 120 inches, concentrating on landscapes but also completing figurative, portrait, and still life images. Texture now started to play a stronger role, and light an even more dominant part in my work. I was able to work quickly and in series, using short strokes of color, concentrating on extreme light and dark contrasts for an overall balance with a strong personal emotional stake in the image. By the mid 1980s, I started to gain recognition in this medium.

I start out by using a sketch on transparent paper and placing it in reverse under a 1/4 inch glass plate. Using oil paint in diluted form, I then paint the image on the glass with brushes and palette knife. Once the plate is completely covered in oil paint, I place heavy weight Stonehedge paper over the image and apply pressure with a brayer (hand held roller). The paper is pulled and the printed image (or Monotype) is complete at this point. I title the image and sign it. Occasionally, I print a second image from the same plate before it is cleaned. This second print is referred to as a "Ghost" and is popular in Europe.

I am still captivated by light I continue to paint images showing the relationship light has with color, surfaces and the impact on the viewer. My oil monotypes and paintings have become brighter by using wider strokes to make flat areas of color and contrast bolder using more intense regional colors- New England or Provence. Since 1994, I have concentrated on still life arrangements near windows or doorways and therefore can include the landscape which is reminiscent of the region-either Connecticut, views from my studio in Hartford, or the south of France, views from family and friend's homes Provence. My objective is to capture exterior and interior light, color and essence of the place and time which has meant so much to me. I wish to share the vision and feeling with the viewer.