Thomas Celewicz
About ThomasTom Celewicz, a native of Poland, is a musician turned painter who expresses himself in oils.
He was born in Southern Poland (Galicia) and grew up among luxuriant hills, temperamental mountain rivers, and lived among very colorful and strong people.
Before coming to the United States Tom spend almost two years in the refuge camp in Latina, Italy, near Rome. He hitch-hiked all over the country, visiting all the beautiful cities, churches and art museums, all while becoming acquainted with masters of Italian art.
Tom arrived in the USA in 1986 and shortly afterwards began to paint. First mostly self guided and extremely determined, he later attended art classes in the local college (CLC.) He was a student of Ed Karnischer, who in turn was a student of Mark Rothko.
Tom paints colorful and warm oils using vivid colors and simple abbreviated forms. He likes to paint landscapes as well as portraits of personalities, and occasionally still-lives too.
All of his paintings express a depth and poignancy of feeling that reveal his insights in his subjects. One is tempted to contemplate visiting the places he creates.
Thomas is also a jazz trumpetist, guitarist, husband, father, and a cat lover.
I love to play w
I love to play with combinations of colors. Making it up as I go along. It usually results in work with several layers of thick paint. When I’m at work I always ask myself “how does it feel?” Emotions are an important part of mI love to play with combinations of colors. Making it up as I go along. It usually results in work with several layers of thick paint. When I’m at work I always ask myself “how does it feel?” Emotions are an important part of my work. I use my daily surroundings to show them.
I also think spontaneous movement of a brush makes a painting more enjoyable to look at. And in that movement there is a very direct way of communicating. Emotions in bigger and looser movement. Maybe the picture and shapes created in that way aren perfect but they are more like a fast sketch, not finished, more “open”. So there is more room for the viewer for their own interpretation.
People tell me they feel comfort, friendliness and joy in my work. That is so great to hear! It is special to me that I can make people feel that way. But I guess in some pieces I’ve also painted other emotions, wonderment, sadness and confusion. Communication is essential to me.
I admire and have been influenced by post impressionism, by Bonnard, Monet and van Gogh. But also by the Dutch painters Jan Sluijters and Vlaming/Dutch Pieter Claesz. And even the early work of another famous Dutch, Mondriaan, I feel like it’s modest and sincere.
y work. I use my daily surroundings to show them.
I also think spontaneous movement of a brush makes a painting more enjoyable to look at. And in that movement there is a very direct way of communicating. Emotions in bigger and looser movement. Maybe the picture and shapes created in that way aren perfect but they are more like a fast sketch, not finished, more “open”. So there is more room for the viewer for their own interpretation.
People tell me they feel comfort, friendliness and joy in my work. That is so great to hear! It is special to me that I can make people feel that way. But I guess in some pieces I’ve also painted other emotions, wonderment, sadness and confusion. Communication is essential to me.
I admire and have been influenced by post impressionism, by Bonnard, Monet and van Gogh. But also by the Dutch painters Jan Sluijters and Vlaming/Dutch Pieter Claesz. And even the early work of another famous Dutch, Mondriaan, I feel like it’s modest and sincere.
ith combinations of colors. Making it up as I go along. It usually results in work with several layers of thick paint. When I’m at work I always ask myself “how does it feel?” Emotions are an important part of my work. I use my daily surroundings to show them.
I also think spontaneous movement of a brush makes a painting more enjoyable to look at. And in that movement there is a very direct way of communicating. Emotions in bigger and looser movement. Maybe the picture and shapes created in that way aren pect but they are more like a fast sketch, not finished, more “open”. So there is more room for the viewer for their own interpretation.
People tell me they feel comfort, friendliness and joy in my work. That is so great to hear! It is special to me that I can make people feel that way. But I guess in some pieces I’ve also painted other emotions, wonderment, sadness and confusion. Communication is essential to me.
I admire and have been influenced by post impressionism, by Bonnard, Monet and van Gogh. But also by the Dutch painters Jan Sluijters and Vltch Pieter Claesz. And even the early work of another famous Dutch, Mondriaan, I feel like it’s modest and sincere.
He was born in Southern Poland (Galicia) and grew up among luxuriant hills, temperamental mountain rivers, and lived among very colorful and strong people.
Before coming to the United States Tom spend almost two years in the refuge camp in Latina, Italy, near Rome. He hitch-hiked all over the country, visiting all the beautiful cities, churches and art museums, all while becoming acquainted with masters of Italian art.
Tom arrived in the USA in 1986 and shortly afterwards began to paint. First mostly self guided and extremely determined, he later attended art classes in the local college (CLC.) He was a student of Ed Karnischer, who in turn was a student of Mark Rothko.
Tom paints colorful and warm oils using vivid colors and simple abbreviated forms. He likes to paint landscapes as well as portraits of personalities, and occasionally still-lives too.
All of his paintings express a depth and poignancy of feeling that reveal his insights in his subjects. One is tempted to contemplate visiting the places he creates.
Thomas is also a jazz trumpetist, guitarist, husband, father, and a cat lover.
I love to play w
I love to play with combinations of colors. Making it up as I go along. It usually results in work with several layers of thick paint. When I’m at work I always ask myself “how does it feel?” Emotions are an important part of mI love to play with combinations of colors. Making it up as I go along. It usually results in work with several layers of thick paint. When I’m at work I always ask myself “how does it feel?” Emotions are an important part of my work. I use my daily surroundings to show them.
I also think spontaneous movement of a brush makes a painting more enjoyable to look at. And in that movement there is a very direct way of communicating. Emotions in bigger and looser movement. Maybe the picture and shapes created in that way aren perfect but they are more like a fast sketch, not finished, more “open”. So there is more room for the viewer for their own interpretation.
People tell me they feel comfort, friendliness and joy in my work. That is so great to hear! It is special to me that I can make people feel that way. But I guess in some pieces I’ve also painted other emotions, wonderment, sadness and confusion. Communication is essential to me.
I admire and have been influenced by post impressionism, by Bonnard, Monet and van Gogh. But also by the Dutch painters Jan Sluijters and Vlaming/Dutch Pieter Claesz. And even the early work of another famous Dutch, Mondriaan, I feel like it’s modest and sincere.
y work. I use my daily surroundings to show them.
I also think spontaneous movement of a brush makes a painting more enjoyable to look at. And in that movement there is a very direct way of communicating. Emotions in bigger and looser movement. Maybe the picture and shapes created in that way aren perfect but they are more like a fast sketch, not finished, more “open”. So there is more room for the viewer for their own interpretation.
People tell me they feel comfort, friendliness and joy in my work. That is so great to hear! It is special to me that I can make people feel that way. But I guess in some pieces I’ve also painted other emotions, wonderment, sadness and confusion. Communication is essential to me.
I admire and have been influenced by post impressionism, by Bonnard, Monet and van Gogh. But also by the Dutch painters Jan Sluijters and Vlaming/Dutch Pieter Claesz. And even the early work of another famous Dutch, Mondriaan, I feel like it’s modest and sincere.
ith combinations of colors. Making it up as I go along. It usually results in work with several layers of thick paint. When I’m at work I always ask myself “how does it feel?” Emotions are an important part of my work. I use my daily surroundings to show them.
I also think spontaneous movement of a brush makes a painting more enjoyable to look at. And in that movement there is a very direct way of communicating. Emotions in bigger and looser movement. Maybe the picture and shapes created in that way aren pect but they are more like a fast sketch, not finished, more “open”. So there is more room for the viewer for their own interpretation.
People tell me they feel comfort, friendliness and joy in my work. That is so great to hear! It is special to me that I can make people feel that way. But I guess in some pieces I’ve also painted other emotions, wonderment, sadness and confusion. Communication is essential to me.
I admire and have been influenced by post impressionism, by Bonnard, Monet and van Gogh. But also by the Dutch painters Jan Sluijters and Vltch Pieter Claesz. And even the early work of another famous Dutch, Mondriaan, I feel like it’s modest and sincere.