Chris Carbone was born in 1957, in Toronto, Ontario where he lives and paints. He took a keen interest in art while still very young; this involvement would stay with him throughout his life, from the encouragement that he received at his local school to his years at the University of Toronto, where he completed a Fine Art Studio / Fine Art History, Bachelor of Arts (1982-86). Now many years later his work is represented at the national level in Canada as well as having been included in the Toronto International Art Fair.
Carbone first began his art studies at Humber College of Applied Arts, Toronto in the Communication & Design Program (1976-1978) where he notes that his subsequent experience as a Graphic Designer helped him realise his innate affinity to composition. By the early ’80s, Carbone’s search for a broader context for self-expression, led him to study Fine Arts. Here he discovered a fascination with painting and printmaking techniques, producing abstract and enigmatic effects that suggest surface textures and a topographic quality that is still present in his work today.
Carbone’s sense of self and its relationship to the art-making process are interrelated and form the foundation upon which his work is based. Over three decades of investigation into the suggestive nature of paint and of the qualities of surface represents a deepening commitment for Carbone into how closely linked the sense of self is, to the process of creating a painting.
“Intuitive and contemplative, the work allows for incidental occurrences in the painting process. Observations, reflections and decisions made in the moment inform and direct the painting, lending an immediate and improvisational quality to it. There is a complexity to each painting that resonates in the layers of paint, leading to the allusion of something recognizable. Undercurrents, resulting from this process, reveal relationships between elements within the work such as the tactility of the surface, the presence of light and a sense of correlating space. The ambiguous reading of the paint implies a sort of topography (perhaps landscape) - possibly urban or rural. In this way, the work becomes multifaceted and not a fixed “depiction of a scene”- it’s simply paint on the canvas. The work investigates the nature of the surface and therefore ideas that relate to what is visible. In the same way that Rorschach inkblots have many interpretations, one may also perceive the variant possibilities in the work.”