"In 1984, when Guy Kemper hung a sign that read "Kemper Studio" outside 190 North Broadway in downtown Lexington, he never dreamed his business would realize global success. At the time, Kemper had only $2,000 in savings and a relatively open mind as to his future.
Although Kemper does not consider himself a "stained glass" artist, that is the way he began his career more than 20 years ago, working with a friend to repair antique windows. Today, Kemper is a world-renowned painter of large architectural art glass. His work is included in projects from Bellarmine University in Louisville to The Catholic Memorial at Ground Zero, and from Gainsborough Stud Management in Berkshire, England, to St. Peters auf dem Berg in Bleidenstádt, Germany.
Kemper's career reached a critical turning point in 1999 when he received a commission for a window located in the long glass connector between the main terminal and the gates at the Greater Orlando International Airport. For this commission, Kemper hired a professional fabricator, Derix Glasstudios in Taunusstein, Germany.
This decision to hire Derix freed Kemper, both technically and artistically, to work on a larger scale, in a more expressive manner, and allowed him to concentrate on the business end of his art.
Pushing the medium
Since the late eighties, Kemper has wanted to break away from the traditional boundaries of the stained glass medium, namely the use of a leadline and enamels for painting on the surface of the glass. This is what he found unique about Derix.
In operation since 1866, Derix had developed an etching process that was rare to the industry, a process that liberated artists and designers from the traditional limitations and sensibilities of the medium. This new technology, coupled with Kemper's insistence on using hand-blown glass for all of his projects, has enabled him to design and install some of the most valuable work on the international market.
More importantly, the innovative techniques employed by Derix allowed Kemper to realize his painterly expression and focus on the more critical aspects of designing large architectural glass. For Kemper, architectural glass is about creating an environment, in union with the architecture, in three dimensions.
"The building will tell you what it wants if you listen carefully and ask the right questions," Kemper stated. "This examination leads to an understanding of the architectural dynamic - the relationship between the volume of a space, proportion and scale, light and shadow, acoustics, and the artistic response. A good architectural artist will assimilate these things before they start designing."
"As for design materials, I keep it very simple. I use mostly large tempera blocks - the ones that are about 2 1/2 inches in diameter, just red, blue, yellow, white and black. I can get any color I want from them very quickly, and lots of it, and use large brushes if desired. Because I am no longer bound by the leadline, I can work very loosely and irrationally, which is a relief after spending so long analyzing what is being asked by the context," Kemper said.
The process begins for Kemper with a simple sketch. "I generally start with a pencil, drawing the basic composition, the essential gesture, just a few lines. This is the skeleton upon which the design is hung, very loosely. I paint on mylar and acetate many times, so I can overlay them or wash the slate clean and start over. It's not unusual to paint 20 designs and pick the best one or two to show the client."
Challenging the stereotype
Kemper refuses to adhere to the common perception that artists are inept when it comes to business matters. He works as his own agent and prides himself on his ability to balance the demands of travel, meetings and finances. He consistently abides by budgets, timelines, architectural details and construction schedules and finds the time to aggressively market his talents locally, nationally and internationally.
"When you're only one person, and your currency is something as nebulous as creativity, you're not exactly walking through the halls of business with a loaded gun in your pocket. So, communication and cooperation are essential when working with architects, fabricators, consultants, design committees and the press," Kemper said.
Kemper's portfolio includes projects that range in contract price from $70,000 to $325,000. Yet, one of the most meaningful and moving works for Kemper is the Catholic Memorial at St. Joseph's Chapel in New York. This chapel was destroyed by the terrorist attacks in 2001.
Lawrence Hoy, co-founder of Renovata Studios of Port Chester, N.Y., which specializes in the design of religious interiors, was the designer for the renovation of the chapel.
According to Hoy, "Guy's work was chosen because the committee appreciated his unique style and technique. They also felt that his work would be well suited to the expressive nature of this new space. From a business standpoint, Guy was also willing to work with the client to make the project work financially."
"My personal view of Guy and his work is that he has helped to revolutionize stained glass as an art form," Hoy said. "Guy is fearless when it comes to innovation and expression in this medium. His art is so powerful and well executed that the clients can only fully understand the value of his work upon final completion - then they are bowled over. Guy told me once that he wants people to see his glass and say 'WOW,' and they do."
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