Winston Chmielinski - Laughter

Winston Chmielinski’s paintings have been called “ecstatic”,
and in the US press, almost without fail critics made reference
to Bacon and Matisse, De Kooning and Monet in their effort to
classify the remarkable work of this twenty-five-year-old artist.
At the same time there is a broad consensus that his work “is
defiantly his own.”

In November and December of last year, Winston Chmielinski
was presented by his New York gallery in a first solo exhibition,
and subsequently, during the week of the Armory Show, he
also had a solo presentation at the VOLTA art fair. Immediately
the New York Arts Magazine listed him as one of the “5 Artists
To See During Armory Art Week,” and he found himself on
OUT magazine’s “Hot List 2013”.

Just like the above-mentioned Francis Bacon, Winston
Chmielinski, who studied philosophy, literature, and creative
writing, is self-taught as an artist. His paintings attest to a
remarkable aplomb, especially in view of his young age, but
their painterly impact, their sensual aura, and their
expressiveness have convinced us that he is one of the most
exciting young talents from the US.

We are very pleased to present Winston Chmielinski at the
gallery in his first solo show in Europe, which will run parallel
to Berlin Art Week, which, very fittingly this year has the
programmatic motto “Painting Forever!”

"Shakespeare, in his attempt to define love, wrote: 'misshapen
chaos of well seeming forms'. Paintings by young American
artist Winston Chmielinski resemble that line. They are
powerful, condensed yet delicate strokes of pastel colors and
evocative forms. Some more abstract than others, shapes
vanish and paint breaks out. The human figure viewed as a
metamorphosed vision, a brilliant vision." – Berlin Artparasites

"Where little moments constantly begin and nothing seems to
end, the paintings of Winston Chmielinski pleasurably weave
organic, fleshy figures into a swirling world of color. Chmielinski
tames his seemingly chaotic works with a distinct care for
detail, ordering the figurative elements in what––upon closer
inspection––appears to be a methodically calculated and
controlled composition. A Rothko-like sensitivity towards color,
combining bright hues in a linear yet bleeding-over quality,
provokes tingles of emotion, while cleverly worded titles (…)
hint at deeper layers of meaning." – Sarah Gretsch, Berlin Art
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