Early Life and Artistic Training

Chris Kline was born in 1973 in Oshawa, Canada. His early years in Ontario provided the foundation for a life spent working with the physical properties of paint and support. He eventually moved into higher education, seeking a deeper understanding of the structures that hold an image in place.

He attended Queen’s University, where he earned a Bachelor of Arts. This period of study preceded his formal training in the specifics of visual creation. Following his time at Queen's, he attended the Nova Scotia College of Art and Design. It was during these years of study that the technical habits of his practice began to take shape, focusing on the materials and the formal language of the medium.

Technique and Style

Kline’s practice involves a slow, physical reconfiguration of the medium. He often begins by removing finished canvases from their original stretchers. These works are then interleaved between layers of glass, plywood, raw canvas, and gesso. By reframing and repositioning these pieces within the expanded perimeters of new supports, he creates a sense of depth that challenges the traditional boundary between the painting and its frame. This process allows the traces of the original structure to remain visible, turning the support itself into a central part of the work.

The resulting surfaces often appear near translucent. He uses delicate watercolour markings that reveal themselves only under close inspection, appearing in a slow, subtle way. There is a notable economy of means in his approach, focusing on the materiality of the cloth and the way light moves through it. His work frequently addresses the tension between the object and the illusion, using thin layers of paint to create areas of unbroken surface that still acknowledge the physical presence of the substrate.

Exhibitions and Professional Recognition

The presence of his work in various galleries marks a steady progression through the Canadian art landscape. His paintings have been shown at the Oakville Galleries and the Southern Alberta Art Gallery. He has also had his work exhibited at The Agnes Etherington Art Centre. These appearances often involve a quiet dialogue with the spaces they inhabit, moving from solo presentations to group settings. In 2011, he was part of the Quebec Triennial, Le Travail Qui Nous Attend.

Recognition for his practice has come through several notable placements on longlists. He was longlisted for the Sobey Art Award and the RBC Painting Prize. His involvement with the RBC Painting Prize also included being named a semifinalist. These acknowledgments reflect a consistent engagement with the formal qualities of his medium. His work has also received support from the Canada Council and Le Conseil des Arts et des Lettres du Québec.

Where to See the Works Today

His paintings can be found in several public institutions across Canada. In the east, the Art Gallery of Nova Scotia in Halifax holds his work. Moving through Quebec, his pieces are held by the Musée d’art contemporain in Montreal, the Musée d’art de Joliette, and the Musée national des beaux-arts du Québec. In Ontario, the Agnes Etherington Art Centre at Queen’s University in Kingston and the Oakville Galleries also maintain his works in their collections.

Beyond these specific galleries, his presence extends into various other spaces. His paintings are held in private, corporate, and museum collections throughout Canada, the United States, and Europe. This distribution reflects the reach of his practice across different borders and settings.