bio


Jimmy Chiale grew up in Paris, where, as a young child, he imagined living in the perplexing and beautiful world of Pablo Picasso. He moved to Toronto in 2006, where he began to pursue a career as a professional artist. At a young age, Chiale was drawn to the sophisticated abstraction of modern art, and an interest in lines has continued to be a fundamental part of his process. Picasso dismantled the convections of linear perspective that had been a tenet of artistic practice since the Renaissance; it was a bold move that continues to ripple in the water of contemporary art. Like the modern artist, Chiale relies on strong lines to create form, and although he never formally studied art, there is a Cubist propensity to deconstruct evident in his approach to painting. There is a surrealist element, too, in which the inner world of the psyche is revealed as a series of complex linear movements. Chiale describes his work as psychedelic, in that it explores the peripheries of human consciousness in visual terms and questions the boundaries between dreams, hallucinations and perceived realities.

         Chiale relates that he often expresses strong emotions of sadness and anger in his work but also love and calm . There is a strong alliance between emotion and movement, and the artist successfully imparts the sensation of flux in a still, painted surface. Painting his inner world allows him to contemplate these feelings and move through them. The viewer is caught in a flow of energy where the interior is made exterior. When asked about his art, Chiale struggles to provide a concise explanation – a testament to his practice. He translates his stream of consciousness into something physical; intense emotions or existential problems are in his mind one moment, and alive on canvas the next. He is able to transform an unpleasant feeling into a beautiful object, and for him, this is what it means to make art. Chiale paints quickly, completing his canvases in five to 15 hours, and works in acrylic because of the speed with which it dries. He never returns to an artwork after his initial session, because an attempt to fix it ruins it.