“The artistic vocabulary of Wojciech Kopczynski can be characterized by independence, wh is not characteristic of many artists of his generation. The uniqueness of his expression doesn’s aim at arising sensation nor does it call for attention with a hysterical shout. On the contrary, his art is focused, earnest and therefore attractive. Kopczynski’s works draw the audience also with a quality that can be described as “subtle richness”. I have here in mind not only the richness of meanings and allusions, not easy to decipher, but also a number of formal and technical means invented by the artist. Thanks to them, at the first viewing, one perceives the paintings as exquisite objects of superior quality not having anything to do with coquetry and prettiness. In Kopczynski’s paintings there is beauty and fierce seriousness. The color palette that he uses is purposefully very narrow, reduced almost exclusively to natural hues as couple of shades of ochre, terracota, bone black and lead white. This brings to mind the tonal scale used in antique Greek ceramics but without any trace of decorative pattern. It is a purposeful esthetics using polychromatic color targeting a specific effect, which is multiplied and supported by an imperative technique – the relief. Many of Kopczynski’s works are somewhere in between a painting and plate, a strongly outlined bas relief”.(…)

Prof. Maria Rzepińska, from the catalogue  „Paintigs by Wojtek Kopczyński”, 1112 Gallery, The Society for Arts, Chicago 2001 r.

(…) „Malraux said once that a painter is painting not because he loves the landscape but because he loves paintings. Looking at Wojciech Kopczynski’s body of work I had the above issues in mind. His paintings are panels painted in earthy colors of deteriorating walls. They are paintings-signs bringing to mind far away forgotten cultures. At the same time, the disturbing mood of these paintings, the type of paint material, the composition, selection of the elements, somberness but also a courageous dialogue with the past-prove the throughly contemporary origin of these works. The facades can be at the same time the fronts of the cathedrals, castles and walls of a prison. Pealing off walls, windows with head-resembling shapes and hands remaining robot claws are what the experience and reflection on our times has brought into Kopczynski’s paintings. Ambiguity and even irony, awe, but also conscious craftsmanship in which artist engages with technological mastery. With each painting Kopczynski intensifies his expression while avoiding opulence, the chattery of form. He eliminates unnecessary elements but at the same time he plays with the world he creates. Sometimes it seems that with much pleasure he is building numberless details around his buildings and towers, around the forms of his mysterious characters and geometric figures. At other instances, he avoids decoration with passion arriving at ascetic synthesis. He works with large planes building and constructing his panels rather then painting them. (…) Looking back, thinking about boulders and walls of the far away worlds he is at all times looking into the future. He combines by the means of his imagination and his technical ability, the existence in remote states and mysterious signs with the consciousness of a contemporary artist. 

Prof. Stanisław Rodziński from catalogue “Paintigs by Wojtek Kopczyński”, 1112 Gallery, The Society for Arts, Chicago 2001 r.