Chris Silver, a Glasgow-based artist, emerges as a compelling voice within contemporary painting, where instinct, emotion and material converge with striking clarity. Drawing from a rich lineage that spans Abstract Expressionism, Pop Art and Fauvist intensity, his work resists singular definition, instead unfolding as a layered and deeply personal visual language.
At the core of Silver’s practice is an intuitive process, one that balances spontaneity with emotional precision. His compositions feel lived rather than constructed, each mark carrying a sense of immediacy that draws the viewer into an interior world. Colour becomes both structure and sensation, shifting between bold, saturated passages and quieter, more contemplative tones, reflecting the complexities of human experience.
There is a distinct psychological depth to Silver’s work. His paintings operate as visual narratives, not in a literal sense, but as emotive fields where vulnerability, tension and resilience coexist. Rooted in his own lived experience, including an ongoing dialogue with mental health, his practice transforms introspection into something universally resonant.
Rather than offering resolution, Silver invites a moment of pause. His work asks to be felt as much as it is seen, opening a space for reflection and connection. In doing so, he creates paintings that linger, not only for their visual impact, but for the emotional imprint they leave behind.
Are you self taught, or did you undertake formal artistic training?
For most of my life childhood I was drawing constantly but felt overlooked. In school I was told my drawings were ‘messy’, I had problems with concentration. It was always there, this magnet pulling me towards creating art. When I was 14, a mystic told me that art is my ultimate path. I didn’t think much of it at the time. A year later, I drew a terrible self-portrait, with wonky, out of proportion eyes (it didn’t look like me) – but an art teacher in my high school saw potential and she let me crash the art class. I am now 31 and art has been my way of life since then.
After high school, I studied a year of Photography at College, then I went onto being accepted to the Painting & Printmaking degree program at the Glasgow School of Art, graduating in 2017. This was a challenging time, and it would take me some time to find my identity in art; but the course helped me hone my skills, develop mastery, emotional intelligence, and I met some of the loveliest people who I still am good friends with, and always will be.
How would you describe your visual language or conceptual approach?
My art is all about feelings and energies. There is a raw truth to them, through portrait painting I capture souls on paper – a snapshot of the persons aura, identity, and energies.
I have undertaken some research in Art Psychotherapy, and having a mother as a psychiatrist, I am interested in mental health and how therapeutic art making can be. Combined with the spiritual aspect, the portraits have an element of magic to them.
Can you describe your creative process from conception to completion?
I must align my energy, so I always make sure that my house, and home studio – is organised, tidy, decluttered – so the chaos can begin. I obsessively research paintings, absorb information from books and let all these hundreds of images and inspiration rest in my mind.
As a Scorpio rising, I feel a strong connection with water and I love environments that are salubrious, homely and beautiful – I need to do things I enjoy, and take lovely baths, with all the candles and champagne – Joan Collins eat your heart out.
When the space is ready, it can get messy; the painting process and goes through emotional highs and lows. I read the energies, so if drawing a person from life, I can use chakra stones which are rolled out like dice; this informs me of what colours I can use in the painting and read the energies. The snapshot of a person’s soul is channelled in the creation of the portrait. I use many, many materials – from spray paint, acrylic, oils, pastels – whatever I can get my hands on. I go with the energy, and observe the person intensely, and get a glimpse of their truth. It is an intuitive process. The initial work can start slow, measured, then can gain quick past and is like an ‘action’ or ‘speed’ painting. I work very fast when painting.
Does narrative, symbolism, or storytelling play a role within your work?
Symbolism and telling the story of the humans in the portraits are at the forefront of my practice. I use tarot imagery, spiritual motifs in the way I make marks, and approaching colours I am drawn that depict that person’s truth, and soul. I can sense their aura, and what colours they radiate. My work comes from a place of non-judgement, compassion and love. I hope that the portraits I make, will make people happy, and they can see a glimpse of their soul – they are spiritual readings but also works of art. The duality exists, the work is layered, emotionally charged and intense. I observe people, I listen, I feel and sense their hopes and dreams, their demons but see the core of them, from a place of compassion.
Which artists have most influenced you historically or contemporarily and why?
Da Vinci is brilliant. He was a gay man I believe, and in Florence, men like him with artistic sensibilities and love of the same sex were colloquially referred to as a ‘Florenzer’.
It is super fascinating reading all about these artists and their rich, complicated, and colourful journeys in life. He didn’t fit in, he was unusual, and probably neurodivergent. I relate to the group of artists that want to change the world, who are often misunderstood, these artists changed the world – art and healing can do that.
In terms of colour, I love Henri Matisse, Andy Warhol and Frida Kahlo. In contemporary art, I am drawn to Elizabeth Peytons gem-like, intimate paintings of icons of the 1990’s. There is something so sublime about her paintings – the way she handles paint is stunning, and I think her work has a psychic energy. Other artists like Julie Mehretu inspire me, with her mark making to tell a story of an environment.
I enjoy the work of so many artists, and they inspire me constantly.
What personal, cultural, or environmental influences shape your practice?
Growing up gay in Scotland during the noughties, going to a catholic school, being undiagnosed ADHD felt limiting in some ways. These things can shape the way we see the world. I have had bouts of terrible depression and anxiety in my life, and being from Glasgow, the people around inspired me the most – I have learnt you just need to be yourself, and I think Glasgow as a city for such a long time inspired me. The people, the stories, the culture – it is a vibrant place and the people are kind.
Where is your studio based, and how does the space inform your creativity?
I can work anywhere really, but I do enjoy being in a comfortable space, where everything must be right! Often, I will draw in a sketchbook, in bed; comfort is so important and enjoying the process, it is healing and therapeutic.
My home studio goes through transitions; right now, it is chaotic and messy, so I am reorganising and decluttering. It is being cleansed of old energies and the newness of what comes will inspire new, bolder works.
What bodies of work or projects are you currently developing?
I want to draw everyone I know and love, and it will be for life – capturing humanity in the portraits. I capture the intense truth that lies beneath the surface and depict a person’s inner light.
Currently I am drawing people from my family, and I have made a few portraits so far and intend on building a large body of work, imbued with psychic painter energy.
Where can collectors encounter or acquire your work?
I offer Psychic Portraits on my website chrissilverart.com where you can enquire about original drawings and paintings.
