Stephen Chambers was born in 1960 in London. Trained in Central St. Martins and Chelsea School of Art and has extensively held solo and group shows both in USA and Europe including a large retrospective in the Frissaras Museum, Athens. His works is in many public and private collections. Since 2005 was elected as a Royal Academician.

Chambers wonts to reveal some of the more interesting aspects of life we might otherwise miss. Beuty in his hands is often subversive but always strangely uplifting. His painting with their unusual colour combinations and frequently intricate patterns excite the mind and refresh the spirit.

Although he came to printmaking later in his career, it is now an established and integral part of his artistic practice and he makes etching and monotypes, experimenting with a variety of materials and tecniques. He values the accessibility of prints, the fact that an edition of etchings will go out into the world and reach more people than a painting way.

on the six figures “Fantasmi

When I leave my studio at the end of the day the last thing I do is to look through the keyhole at the work I have just left behind. This is both a way of shuttering, or framing, the image, and also a way of detaching myself from the days labour; the work becomes somebody else’s.

Michael Powell’s film; Peeping Tom,  Marcel Duchamp’s Etant Donnes… and in Piranesi’s piazza on the Aventine hill in Rome the keyhole invites a secret observation. It is an act of both invasion and vulnerability; whilst stooped with the eye cupped to the door the viewer’s back is exposed, as the spy observes, he himself cannot watch his back.

I realised that I have revisited the ‘keyhole’ image over many years. There is a small early painting called ‘Joe Peep’, a squat man peeping through an aperture with fingers twitching with excitement , and a larger painting painted directly on the outside door of an architects bathroom. The viewer of these paintings was viewing the viewer, as it were. These prints are more intimate, they are close up, they are what goes on, on the other side.

Stephen Chambers