Chris Klein:
Merging Hyperrealism
Theatrical Elegance
Textured Detail
Chris Klein is a master of capturing the drama and elegance of theatrical costumes with breathtaking hyperrealism. His work brings fabric, texture, and intricate details to life, transforming stage garments into timeless works of art. Inspired by the world of theater and historical fashion, his paintings tell stories of craftsmanship, performance, and artistic heritage.
In this exclusive interview, Chris shares his creative journey, his fascination with costume design, and the meticulous process behind his strikingly detailed work.
Acrylic | Canada
Your journey as an artist has taken you from the UK to Canada. How have these different cultural influences shaped your work?
It’s interesting, Montreal has a reputation of being more “European” than other North American cities. Having lived here for a number of years and also travelled to other American cities, I tend to agree.
So it’s less cultural influences that have shaped my work, but more my environment within employment. That is to say, painting for theatre, to painting for films and TV. The style of painting varies, and it does influence my own creative style.
Also, the close proximity to the fabulous costumes in theatre has been the main reason that I have the reputation that I do. My paint shop being alongside the costume warehouse at the Stratford Festival, where I was the Head of Scenic Art for 8 seasons.
You started out with the Royal Academy of Arts and the Guild of Motoring Artists. How did your early career in these areas influence your transition to theatrical and costume paintings?
It was an easy transition to make. I painted many landscapes, and it was one of these that was accepted by the Royal Academy of Arts for their Summer Exhibition. And I loved motorsports. I have a few friends in that world, I was even invited by Sir Stirling Moss to his house in London. So I painted a few racing scenes, sometimes getting the team to sign my paintings for me.
But all of my partings had one thing in common, realism. Even then, I enjoyed most the play of shadow and light, which has become a central part of my costume painting.
When I was very young, my favourite artists were Caravaggio and Joseph Wright of Derby. They have always been a big influence on me, with my costume paintings being the culmination of that.
What is it about costumes that captivates you as a subject?
It was working at the Stratford Festival theatre, where I walked through their costume warehouse almost every day. I took many photos, but it wasn’t until I started looking through them that I felt the need to paint some of them.
What captivated me was the infinite colour and texture of the fabrics. There was such diversity that I hadn’t realized before then. It was a challenge, but an enjoyable one.
Straight away, I could see that lighting was essential. Some fabrics looked dull until you throw some light onto them, and then they come alive. The more I painted, the more I wanted to paint more!
You’ve had the opportunity to paint from The Phantom of the Opera, The Lion King, and even royal ceremonial collections. Is there a particular piece that stands out as the most meaningful or challenging?
That’s a very difficult question to answer!
I really loved painting both the Phantom and The Lion King. Sadly I cannot paint any more from the Disney show. They gave me a commission with the opportunity to paint just one more. They are very special because of that. This makes them precious to me, and the most meaningful.
The Phantom costumes stand out for me in a different way. They are some of the most incredibly lavish and detailed pieces I’ve ever seen, thanks to the amazing designer, Maria Björnson.
I’m still painting costumes from that show, and I will never get bored with them.
As for the Royal Ceremonial costumes, I was not as experienced then with how to photograph the pieces. So, although I have many photographs, I haven’t painted many, it’s challenging to get something from them that can work successfully as a painting. I’d like to return now, with better equipment and more experience.
How do you approach painting a costume? Do you aim to capture just the garment, or do you try to convey a sense of its history and character?
I think a little of both.
First I have to show it aesthetically, it has to work as a beautiful painting in its own right. Even if someone isn’t into theatre or costumes, they can be attracted to my art.
But I also try to capture the story behind the piece. I have utmost respect for the designer and the team that created it. Also to the show itself, and the actors that brought it to life.
There is so much background to each garment, I cannot convey everything, but I do try.
What are the biggest challenges in translating fabric, texture, and theatrical grandeur into paint?
It’s surprising just how diverse fabrics can be. The greatest challenge is definitely trying to capture the “feel” of each material.
It’s been more challenging than painting landscapes. Costumes can contain metal, leather, silk, velvet, fur. There may be complex patterns, or lots of lace. And the light can work so many effects on the surface.
Every piece is completely different. That’s why I don’t get bored.
How did your commission from Disney for The Lion King come about, and what was that experience like?
I could say that, in a round-about way, it was my wanting to paint the costumes from the Phantom of the Opera that led me to Disney!
It’s very difficult to get permission to paint from shows, and the bigger the company, the harder it becomes. It took me over a year before I finally had everybody on board to allow me to paint the Phantom costumes. I made a few friends along the way.
One of those worked at Andrew Lloyd Webber’s company, the “Really Useful Group” (the RUG).
By then I had painted a few of the costumes from the Phantom and was invited to do a solo show in New York at Bernarducci Gallery in Chelsea.
Not long before the show, I find out that my new friend was leaving the RUG in London and starting a new position in New York. So I invited him to my opening.
He wrote back complimenting me on my work and suggested how lovely it would be to paint from The Lion King. I jokingly replied, “do you remember how difficult it was for me to get permission to paint from the Phantom!”
But he came back to me saying that he’s friends with Tom Schumacher and he’ll bring him along to my show!
Now Tom is the president of Disney Theatrical, and I was stunned to think he might come to my show. But he did come. He was very friendly and very complimentary for my work. He told me he was working on some ideas for the Lion King’s 20th anniversary coming up in London, and seeing my paintings made him think of more possibilities. He told me that he would be in touch.
Needless to say, I was contacted soon after, and then things started moving quickly. I didn’t have a great deal of time, about 2 months, to produce a large painting (60”x60”) from scratch. I had to travel to Toronto to take photographs.
It took a while to find the best composition, I played around a lot in Photoshop until I came up with something that worked both aesthetically and for the cover format. It also needed to have the stars and main character’s costumes depicted, and above all, have to please Disney.
I didn’t know at first, that it was going to be placed on the cover of their “Behind the Curtain” brochure. I don’t think I realised until I took a trip to New York to deliver the painting. They were all very nice when I visited their headquarters. They showed me around the building and presented me with a special limited edition of their 20th anniversary book, signed by Tom Schumacher. And then they showed me a mock-up of the brochure cover with my painting! It was more than I had hoped for.
We were lucky enough to be in London for the anniversary, it was quite a big thing, with posters and promotions everywhere we went.
And now I believe the original painting is hanging in the lobby at their headquarters.
What advice would you give to emerging artists who want to create meaningful work with a purpose?
Everything starts with the mind. Curating the story you want to tell begins by looking inward and identifying what is meaningful to you conceptually. From there, selecting the right medium and materials will help you express your vision effectively.
It is also important to prioritize yourself and learn to say “no” to distractions or ideas that pull you away from your goals. Time is our most valuable resource, and being mindful of how you spend it will bring you closer to your purpose.
Most importantly, remember to enjoy both the process and the art itself. At the end of the day, it is the love for creating that drives us to dedicate countless hours to our work.
Your work has been exhibited across the UK, Europe, and North America. Are there any upcoming exhibitions or projects you’re especially excited about?
I have a small painting as part of the 25 year celebrations for ArteLibre. Based in Spain, but the show will open in New York at the Atlantic Gallery from July 15th to August 2nd, then it travels to Spain.
I have also started painting some of the private collection of Sir Brian May from Queen. He kindly let me take photos of his show costumes to paint from, some are very iconic pieces. When they sell, I will be giving a percentage to the Save Me Trust, which Brian set up with Anne Brummer to help save and protect wildlife. It’s a wonderful cause, and I’m pleased to be able to help.
There is an important tribute celebrating Canada’s most famous choreographer and artistic director, Fernand Nault.
I’ve painted a few pieces from his most famous shows, Carmina Burana, Tommy, the rock ballet, and The Nutcracker which has been playing in Montréal since the 60’s.
My paintings will be part of a touring show which include works by three other artists (sculpture, models and photography) as well as some of the original costumes from the shows.
This is a big collaboration, and I couldn’t have been a part of it without the agreement of many people. So I need to thank Les Grands Ballets Canadiens, Valérie Barbeau, daughter of François Barbeau, the incredible costume designer, and Fonds chorégraphique Fernand Nault, to have given me permission to create these paintings, here is the link https://fcfn.ca
What message do you hope viewers take away from your costume paintings?
I’ve had many good reactions from people who have seen my costume paintings. Many are theatre-goers who tell me that they’ve not appreciated the costumes from the shows until they’ve seen my paintings. And now they’ll enjoy the show even more with extra appreciation of the designers and all the work that goes on behind the curtain.
I find it very gratifying to think I’m bringing more awareness of the work behind the productions, and the skills of the designers, as well as the performance itself.
Artist Inquiries
Looking to acquire a masterpiece or get in touch with one of our featured artists? Don’t hesitate to reach out via our contact form, and our team will respond promptly.
