Soleil d'automne - SOLD Collection Elmag - Estimation 650000 (2010) 绘画 由 Charles Carson

CHARLES CARSON, GRAND MAÎTRE EN BEAUX ARTS,
ARTISTE CANADIEN . NÉ EN 1957

RÉSULTATS DE VENTES - ENCHÈRES/ AUCTIONS ET COTATIONS
SOURCE : DICTIONNAIRE DROUOT COTATION de 2003 a 2024
LAROUSSE DIFFUSION

3 400€ au Canada "Soleil Levant mosaïque, Acrylique" 12,7x17,78 en 2024
2 500€ au Canada "Abstrait mosaïque, Acrylique" 31x25,5 en 2024
810€ au Canada "Abstraction - mosaïque, Acrylique, 1999" 60x60 cm en 2024
1 200€ au Canada "Abstraction - mosaïque, Acrylique, 1999" 30,40x12,8 cm en 2024
1 360€ au Canada "Abstrait mosaïque, Acrylique, 2000" 31x25,5 en 2024
10 215€ au Canada. "Nature - mosaïque, Acrylique" 60x60 en 2023
18 400€ au Canada "Enchantement - mosaïque, Acrylique," 120x90 cm en 2023
2 200€ au Canada "Éclat de vie - mosaïque, Acrylique," 30,48x30,48 cm en 2023
2 200€ au Canada "Saveur d'été - mosaïque, Acrylique," 30x25 cm en 2023
1 250€ au Canada "Fleurs volcaniques - mosaïque, Acrylique," 41x41 cm en 2023
1 385€ au Canada "Extravagances - mosaïque, Acrylique," 30x25 cm en 2023
680€ au Canada "Profondeur marine - mosaïque, Acrylique," 17,8x12,7 cm en 2023
2 000€ au Canada "Vision en profondeur - mosaïque, Acrylique," 31x25 cm en 2023
4 000€ au Canada "L'éveil de la rivière - mosaïque, Acrylique," 51x41 cm en 2023
225 000€ au Canada "Vague Multiple" - mosaïque, Acrylique," 194x180 cm Coll. Elmag en 2023
180 000€ au Canada "Les oiseaux chantent" - mosaïque, Acrylique," 122x213 cm Coll. Elmag en 2023
27 000€ au Canada "Enchantement" - mosaïque, Acrylique," 102x76 cm Coll. Elmag en 2023
1 400€ au Canada "Reflet en éveil - mosaïque, Acrylique," 25x20 cm en 2022
1 300€ au Canada "Abstracto - mosaïque, Acrylique," 31x31 cm en 2022
1 400€ au Canada "Les couleurs coulent - mosaïque, Acrylique," 31x31 cm en 2022
9 040€ au Canada "Vie marine - carsonisme, Acrylique," 51x40,6 cm en 2022
2 365€ au Canada "Soleil levant - mosaïque, Acrylique," 12,7x17,8 cm en 2022
2 650€ au Canada "Lumière d'automne - mosaïque, Acrylique," 30x25 cm en 2022
11 800€ au Canada "Rivière rouge d'automne Q.C. - mosaïque, Acrylique," 120x90 cm en 2022
1 920€ au Canada "Vert pâturage - mosaïque, Acrylique," 50,8x41 cm en 2022
3 630€ au Canada "Le bal masqué- mosaïque, Acrylique," 40x40 cm en 2022
580€ au Canada "Sans titre (1999)- mosaïque, Acrylique," 21,5x12,1 en 2022
1 595€ au Canada "Sans titre (1999)- mosaïque, Acrylique," 33x19 cm en 2022
5 800€ au Canada "Neige d'automne - mosaïque, Acrylique," 55x46 cm en 2022
65 000€ au Canada "Reflet Automne" - mosaïque, Acrylique," 54x54 cm Coll. Elmag en 2022
35 000€ au Canada "En mouvement" - mosaïque, Acrylique," 30x60 cm en 2022
25 000€ au Canada "Vision nouvelle" - mosaïque, Acrylique," 101x76 cm en 2022
19 000€ au Canada "Souffle enneigé" - mosaïque, Acrylique," 48x20 cm en 2022
7 000€ au Canada "Fraicheur et énergie - mosaïque, Acrylique," 102x51 cm en 2021
4 140€ au Canada "Ruissellement - mosaïque, Acrylique," 61x61 cm en 2021
900€ au Canada "Volcan en fusion - mosaïque, Acrylique," 20,3x25,4 cm en 2021
1 390€ au Canada "Regard # 6 - mosaïque, Acrylique," 25,4x30,5 cm en 2021
1 530€ au Canada "Vie marine- mosaïque, Acrylique," 30,5x30,5 cm en 2021
2 000€ au Canada "Reflet en éveil - mosaïque, Acrylique," 26x21 cm en 2021
1 700€ au Canada "Femme - mosaïque, acrylique  25x20 cm  en 2021
950€ au Canada "L'or fou - mosaïque, Acrylique," 24,7x27,3 cm en 2021
2 580€ au Canada "Vibration florale - mosaïque, Acrylique," 40,64x40,64 cm en 2021
1 020€ au Canada "Abstrait - mosaïque, Acrylique," 30,48x25,4 cm en 2021
2 800€ au Canada "Miroir - mosaïque, Acrylique," 30x30 cm en 2021
4 200€ au Canada "L'éveil de la rivière - mosaïque, Acrylique," 51x41 cm en 2021
2 000€ au Canada "Miroir d'automne - mosaïque, Acrylique," 30,48x30,48 cm en 2021
1 800€ au Canada "Saveur d'été - mosaïque, Acrylique," 25x31 cm en 2021
70 000€ au Canada "Coucher de soleil" - Mouvement mosaïque, Acrylique," 193x130 cm en 2021
65 000€ au Canada "Reflet Automne" - Mouvement mosaïque, Acrylique," 137x137 cm Coll. Elmag en 2021
55 000€ au Canada "Réveil de la Nature" - Mouvement mosaïque, Acrylique," 102x152 cm en 2021
2 200€ au Canada "Évasion multidimensionnel- mosaïque, Acrylique" 76,2x40,64 cm en 2020
1 700€ au Canada "Couleurs en floraison- mosaïque, Acrylique" 25,4x10,32 cm en 2020
2 800€ au Canada "Brillo esmeralda- mosaïque, Acrylique" 25x20 cm en 2020
2 400€ au Canada "Abstrait- mosaïque, Acrylique" 30,48x25,4 cm en 2020
3 600€ au Canada "Automne- mosaïque, Acrylique" 41x51 cm en 2020
2 800€ au Canada "Brillo - mosaïque, Acrylique" 25,4x20,32 cm en 2020
2 200€ au Canada "Regard sur la vie - mosaïque, Acrylique" 31x31 cm en 2020
11 000€ au Canada "Lumière de l'éternel - mosaïque, Acrylique" 102x76 cm en 2020
2 600€ au Canada "Illusion - mosaïque, Acrylique" 41x41 cm en 2020
2 100€ au Canada "Lumière d'automne - mosaïque, Acrylique" 31x31 cm en 2020
1 400€ aux USA "Explosion florale - mosaïque, Acrylique" 31x31 cm en 2020
49 200€ en Suisse "Pétale de nacre - mosaïque, Acrylique," 99x99 cm en 2019
67 500€ en Suisse "Réveil de la nature - mosaïque, Acrylique," 114x88 cm en 2019
50 500€ en Suisse "Ruissellement d'automne - mosaïque, Acrylique," 122x92 cm en 2019
2 500€ Aux USA "Fleurs Printanière - mosaïque, Acrylique,"41x51 cm en 2019
4 000€ Au Canada "Fleurs Printanière - mosaïque, Acrylique,"92x61 cm en 2019
3 800€ Au Canada "Champ floral aux vibration sauvage - mosaïque, Acrylique,"92x46 cm en 2019
3 000€ Au Canada "Brise automnale - mosaïque, Acrylique,"61x30,5 cm en 2019
50 400€ en Europe "Ruissellement - mosaïque, Acrylique," 122x92 cm en 2019
95 000€ au Canada "La trahison" - Mouvement carsonisme, Acrylique," 152x122 cm en 2019
1 400€ Au Canada "Aux quatre vents - mosaïque, Acrylique,"25,5x20 cm en 2018
1 200€ en Europe "Translucidité - mosaïque, Acrylique," 25,5x20,5 cm en 2018
69 500€ en Suisse "L'automne vu à vol d'oiseau" - mosaïque, Acrylique," 122x122 cm en 2018
60 500€ en Suisse "Émerveillement" - mosaïque, Acrylique," 152x102 cm en 2018
47 680€ aux USA "Cristaux en fusion" - mosaïque, acrylique  101x76 cm en 2018
50 500€ en Suisse "Ruissellement" - mosaïque, acrylique  122x92 cm en 2018
30 000€ au Canada "Soleil du midi" - Mouvement carsonisme, acrylique 76x76 cm  en 2017
75 000€ au Canada "Douce pétale" - Mosaïque, acrylique  92x203 cm en 2016
185 000€ au Canada "Découverte océanique" - Mouvement carsonisme, acrylique  122x244cm Coll. Elmag en 2016
610€ au Canada "Blue tree" - mosaïque, Acrylique," 19x33 cm en 2015
2 500€ au Canada "Bouquet aux arômes fruités - mosaïque, Acrylique," 50x40 cm en 2015
115 000€ au Canada "Émerveillement" - Mouvement carsonisme, Acrylique," 152x122 cm en 2014
22 000€ au Canada "Fleurs fruités" - Mouvement carsonisme, Acrylique," 46x36 cm en 2013
60 000€ au Canada "Atardecer" - Mouvement carsonisme, Acrylique," 102x82 cm en 2013
95 000€ au Canada "Harmonie" - Mouvement carsonisme, Acrylique," 102x152 cm en 2013
22 500€ au Canada "Bouquet fleurs" - Mouvement carsonisme, Acrylique," 51x41 cm en 2012
35 000€ au Canada "Évasion" - Mouvement carsonisme, Acrylique," 76x76 cm en 2012
58 000€ au Canada "Découverte" - Mouvement carsonisme, Acrylique," 152x61 cm en 2012
95 000€ au Canada "Chant d'oiseaux" - Mouvement carsonisme, Acrylique," 152x102 cm en 2012
180 000€ aux Canada "Fond marin" - Mouvement carsonisme, Acrylique," 122x244cm Coll. Elmag en 2012
175 000€ au Canada "Soleil Automnal" - mosaïque, Acrylique," 247x369cm Coll. Elmag en 2011
45 000€ au Canada "Le Hibou" - mosaïque, Acrylique," 122x122 cm en 2011
23 500€ au Canada "Chant printanier" - Mouvement carsonisme, Acrylique," 76x76 cm en 2011
38 500€ au Canada "La vuelta" - Mouvement carsonisme, Acrylique," 91x122 cm en 2011
35 000€ au Canada "Finesse" - Mouvement carsonisme, Acrylique," 152x101 cm en 2011
40 000€ au Canada "Fleurs sauvage" - mosaïque, Acrylique," 152x122 cm en 2011
33 500€ au Canada "Été en Éveil" - mosaïque, Acrylique," 122x122 cm en 2011
92 000€ au Canada "Évasion" - Mouvement carsonisme, Acrylique," 122x244 cm en 2010
82 000€ au Canada "La Croisée des chemin" - mosaïque, Acrylique," 137x305cm Coll. Banque Laurentienne en 2010
13 500€ au Canada "Le grand chêne" - Mouvement carsonisme, Acrylique," 51x41 cm en 2011
5 800€ au Canada "Soleil" - mosaïque, Acrylique," 25x35 cm en 2010
45 000€ au Canada "Jardin" - Mouvement carsonisme, Acrylique," 97x147 cm en 2010
35 000€ aux USA "Fond marin" - Mouvement carsonisme, Acrylique," 102x102 cm en 2010
52 000€ aux USA "Fond marin" - Mosaïque, Acrylique," 102x152 cm en 2010
56 000€ au Canada "Harmonie" - Mosaïque, Acrylique," 122x152 cm en 2010
82 000€ aux USA "Automne" - Mouvement carsonisme, Acrylique," 102x230 cm en 2010
22 500€ au Canada "Parc Tairona II" - Mouvement carsonisme, Acrylique," 61x76 cm en 2010
3 900€ au Canada "Profondeur marine" - Mouvement carsonisme, Acrylique," 25x30 cm en 2010
50 000€ en Europe "L'oie" - Mosaïque, Acrylique," 102x152 cm en 2009
68 500€ aux USA "Fond marin" - Mouvement carsonisme, Acrylique," 122x183 cm en 2009
645€ au Canada "Fleurs sauvage" - mosaïque, Acrylique," 35,5x25,4 cm en 2009
35 000€ aux USA "Fonds marins" Mouvement carsonisme, Acrylique," 102x102 cm en 2008
29 500€ aux USA "Fonds marins" Mouvement carsonisme, Acrylique," 122x183 cm en 2008
21 500€ aux USA "Abstrait" Mosaïque, Acrylique," 102x152 cm en 2008
23 000€ en Europe "Nature" Mouvement carsonisme, Acrylique," 76x101 cm en 2007
55 000€ en Europe "Fleurs" Mouvement carsonisme, Acrylique," 122x183 cm en 2007
85 000€ en Europe "Océan" Mouvement carsonisme, Acrylique," 122x244 cm en 2007
16 250€ en Europe "Nature en Fusion" Mouvement carsonisme, Acrylique," 92x65 cm en 2006
38 500€ en Europe "Saison Florale" Mouvement carsonisme, Acrylique," 152x101 cm en 2006
2 800€ London "Abstrait" - mosaïque, Acrylique," 35,5x25,4 cm en 2006
1 900€  Metz, France "Blue Fish - mosaïque, Acrylique," 25,4x30,4 cm en 2006
1 025€ au Canada "Blue Fish - mosaïque, Acrylique," 25x30 cm en 2005
21 890€ au Canada "Douce rizière au souffle d'automne glacé -  mosaïque, Acrylique," 180x142 cm en 2005
720€ au Canada "Les orchidées - mosaïque, Acrylique," 51x61 cm cm en 2005
38 500€ en Europe "Chant floral" - Mouvement carsonisme, Acrylique," 122x122 cm en 2005
32 500€ London "Fusion marine" - Mouvement carsonisme, Acrylique," 101x152 cm en 2005
24 000€ New York "Sun Flowers" - Mouvement carsonisme, Acrylique," 101x76 cm en 2005
35 000€ au Canada "Douce Rizière"- mosaïque, Acrylique," 180x142 cm en 2004
42 500€ au Canada "Air musical"- Mouvement carsonisme, Acrylique," 99x150 cm en 2004
45 000€ au Canada "Vibration"- mouvement carsonisme, Acrylique," 160x118 cm en 2004
85 000€ au Canada "Subtilité du carsonisme"- mouvement carsonisme, Acrylique," 137x274 cm en 2004
24 500€ en Europe "L'oie sauvage"- mosaïque, Acrylique," 154x103 cm en 2004
12 000€ en Europe "Bodegon"- Mouvement carsonisme, Acrylique, 61x51 cm en 2004
38 000€ aux USA "La résurrection"- Mouvement carsonisme, Acrylique," 154x103 cm en 2003
24 500€ au Canada "Profondeur marine"- mouvement carsonisme, Acrylique," 101x152 cm en 2003
1 950€ en Europe "Bourgeon printanier"- mosaïque, Acrylique," 30x25 cm en 2003
9 500€ en Europe "La Palanquera"- mouvement carsonisme , Acrylique," 61x51 cm en 2003

ENCHÈRES LITHOGRAPHIE

1 800€ en France "Réflexion marine", Giclée no. 1/450., 76x162,5 cm, en France en 2003


Maître Charles Carson, créateur du mouvement "CARSONISME" Oeuvre dyptique - Source : Revue Parcours, l’informateur des arts – hiver 2004 – vol. 9, no 41-
Parcours couverture 2004

Extrait du rapport d’analyse de 16 pages sur l’oeuvre de Charles Carson.
Par Robert Bernier, historien en art 2004 –

«Curieusement, penserez-vous peut-être, Charles Carson s’est d’abord fait connaître en Amérique du Sud, et plus particulièrement en Colombie où il a vécu et travaillé plusieurs années. L’artiste conserve d’ailleurs des liens étroits avec ce pays, même s’il est de retour au Québec depuis 2000. Dans son pays d’adoption, l’artiste a fait coulé beaucoup d’encre, tant au sens propre qu’au sens figuré ; il y a laissé et y laisse toujours sa marque et ses couleurs, à tel point que, en 1997, pour souligner son apport à la culture de Carthagène, une statue grandeur nature à son effigie a été érigée dans la ville. L’artiste a aussi signé une murale monumentale qui orne le hall de l’aéroport principal de la ville. Il a connu et côtoyé plusieurs artistes colombiens majeurs, notamment Botero, pour ne nommer que lui.» La peinture de Charles Carson se divise en deux approches à la fois distinctes et complémentaires. L’une d’elles a même été baptisée par certains experts et historiens de l’art de «carsonisme*». Cette approche n’est pas facile à décrire « en parlant du carsonisme », mais de manière générale on peut parler d’une succession infinie de touches légèrement obliques qui sur la surface dynamisent au maximum la perception de la matière et du sujet, le tout s’animant sur la toile dans des transparences subtiles tout à fait sensationnelles, donnant une impression de profondeur à la couleur. On dirait un flot incessant de particules – tout de même assez larges – qui balaient la matière avec une régularité fascinante, voire déconcertante. La seconde approche, Carson la nomme tout simplement « mosaïque ». Comme son nom l’indique, cette dernière suggère la fragmentation de la forme et de la surface qui caractérise les mosaïques. Dans un cas comme dans l’autre, il s’agit pour le créateur de dynamiser la surface pour lui donner un état autre dans lequel s’anime un univers suggestif puissamment métaphorique. On le constate notamment avec le thème des fonds marins, que l’artiste exploite avec beaucoup de justesse et de pertinence plastique et narrative. Deux approches, donc, deux explorations, à scruter avec attention pour le plaisir de la surprise et de l’étonnement. * Notamment par Louis Bruens, Guy Robert et Jacques de Roussan. AU COURT DES 25 DERNIÈRE ANNÉE DE NOMBREUX, EXPERTS, ANALYSTES ET HISTORIENS DE L’ART À L’ÉCHELLE INTERNATIONAL ÉTUDIE L’OEUVRE DE CHARLES CARSON, CRÉATEUR DU MOUVEMENT «CARSONISME & MOSAÏSME» VOICI CE QU’ILS EN ONT DIT : CHRISTIAN SORRIANO – PARIS Charles Carson a creusé son sillon vers la postérité artistique, car aujourd’hui on dit c’est un Carson, comme on dit c’est un Picasso, un Matisse, un Warhol, un Basquiat et tous les autres artistes immortels.» BÉATRICE SZEPERTYSKI – BORDEAUX «Charles Carson est un très grand créateur. Son œuvre est inimitable, personnelle, spontanée. Je ne connais aucune œuvre qui lui ressemble. Elle est à mi-chemin entre l’art abstrait et l’art figuratif, elle ne participe à aucun mouvement, à aucune tendance.» VICTOR BENNETT FORBES – NEW YORK As Hemingway developed a new style of writing that is oftimitated, never attained, Carson has created a new way of painting that takes a similar heightened position in the mainstream of contemporary art, a form that is universally accessible but impossible to be duplicated by another. A language all his own forever to be known as “Carsonism.” DEBRA USHER – CANADA « Il est considéré par la critique comme l’un des plus grands artistes contemporains de ce siècle, Maître Carson ayant saisie le langage picturale parlé autrefois par Mondrian, Riopelle, Jackson Pollock, Sam Francis et Wassily Kandinsky, l’artiste a su prendre les devants – Car la création et la mise à jour de son mouvement tout à fait unique et original, interprété d’une tel façon théâtral et magistral, qu’aucun de ces grands maître ou génies de l’art des temps passé, n’avais su imaginé ou même pensé jusqu’à présent. » CHAMPLAIN CHAREST – CANADA « Non seulement il est habile dans la disposition des couleurs, mais ses tableaux me disent quelque chose. J’aime entre autres l’équilibre des masses, la transparence en juxtaposition, sa recherche chromatique, la force évocatrice qui sens dégage fait toute l’unicité de l’œuvre de Carson. J’apprécie particulièrement ses œuvres carsonistes, une manière de peindre qui va aller très loin… » CAROLINE BRUENS – MONTRÉAL Charles n’a jamais fini de m’étonner. Un véritable prestidigitateur. Il aurait pu s’asseoir sur ses lauriers, «surfer» sur la vague du succès qui le frappe de plein fouet; il a plutôt continué depuis de longue année à chercher de nouvelle piste, plutôt à créer «hors piste», de pures œuvres abstraites, des mosaïques abstraites, des mosaïques figuratives, des plumes, des abstraits avec filets, de la nouvelle figuration en plus de faire école avec son «carsonisme» qui inspire de plus en plus de peintres d’ici et d’ailleurs. JEAN PAUL TROTTIER – QUÉBEC «J’aime beaucoup les mosaïque pour les couleurs vive, sa transparence et aussi l’effet chromatique d’ensemble on dirait presque du vitrail. Bien que certain élément figuratif son reconnaissable, poisson, champs de blé, on est tout de même a la limite de l’abstrait, mais quel abstrait ! Au carsonisme, ce qui nous interpellé le plus ce ne son pas seulement les couleurs en tube mise en aplat, mais leur relief, leur qualité vibratoire, les fleurs son évasé, pas statique mais d’ensemble quel joie pour l’oeil, c’est fond marins plus beau que réel, embellie, mais d’une beauté autres, d’une beauté créative.» HILDEBRANDO MEJIA – COLOMBIE « … toutes mes attentes que j’avais pour lui à la découverte de son oeuvre ce son confirmé, j’ai donc organisé une exposition Solo, qui à eu un succès extraordinaire, qui à provoqué un enthousiasme phénomène du carsonisme, qui encore aujourd’hui est étudié par des experts analyste et historiens de l’art. » « …dans l’histoire de la Galerie Arte Autopista, et pour raconté au héritier des héritier Charles Carson est un des grands artistes qui fait partie des plus importantes expositions du calendrier de Arte Autopista, pour sa notoriété en Amérique du Sud et la République de Colombie, ce pays si merveilleux que l’on doit absolument découvrir. » JAMIE ELLIN FORBES – NEW YORK Q. Vous avez écrit à propos de Carson qu’on pouvait le comparer à Kandinsky, Mondrian, Picasso, Van Gogh, Pollock, mais pourquoi Carson ? R. Parce qu’il possède cette incroyable clarté dans la couleur. Et puis, ce n’est pas tout de peindre! Vous ne pouvez extrapoler si vous ne maîtrisez pas la forme. Pour extrapoler, vous devez maîtriser la forme, savoir peindre ! Il applique la peinture avec un sens du rythme, un sens de la couleur qui donnent l’impression que la lumière s’en dégage. Cette toile est très énergétique, presque cinétique. C’est de l’énergie, mais il y a uns structure formelle qui régit l’application des couleurs. COLETTE RICHELIEU – MONTRÉAL «Le mouvement carsonisme se traduit par une succession infrangible de touches légèrement obliques qui donnent vie à la matière et au sujet. Couleurs, transparences subtiles se juxtaposent ou s’entrechoquent comme les ondes marines, balayant la toile d’un mouvement constant et régulier. La technique mosaïque repose sur la fragmentation de la forme et de la surface qui donne un style particulier. En appliquant l’effet mosaïque à sa peinture, Charles Carson dynamise la surface, l’investissant d’un nouvel état et créant un univers fortement suggestif.» ROBERTO CHIAVARINO – ITALIE Une autre page d’histoire de l’Art Moderne Mondial pourra être écrite. «Le peinture élaborée par Charles Carson s’est complètement acquittée des courants traditionnels de l’informel, auxquels cependant, elle pourrait être associée, pour se présenter, ensuite, comme un élément communicatif visuel, indispensable pour imposer son essence codée : « Le Carsonisme » «Le génie de Carson se manifeste lorsque le créateur interrompt subitement son écriture, composée d’une grammaire picturale aculturelle (écriture qui ramène aux racines les plus nobles de l’Histoire de l’Art Européen)…» LAURA MARBOT – FRANCE «…j’ai tout de suite été frappée par une touche tout à fait singulière, mais sans doute par déformation professionnelle aussi, par la beauté de la matière elle-même puisque au laboratoire où nous travaillons, la seule matière constitue, en fait, le pivot central de nos investigations lors d’expertises et d’analyses de pigments. «…En définitive, le talent de Charles Carson réside dans cette faculté à théâtralisé magistralement à la fois la matière et les couleurs.» DENISE DI CANDIDO – MONTRÉAL Charles présente des oeuvres fortes et lumineuses qui transcendent la chaleureuse personnalité de l’artiste. Un foisonnement de couleurs chaudes et froides qui se superposent avec bonheur sur la toile en un amalgame harmonieux et subtil. L’artiste possède une parfaite maîtrise de son travail, il sait ce qu’il veut traduire. Les tableaux de Carson attirent le regard et suscitent toujours beaucoup d’intérêt auprès des amateurs d’Art. Il faut reconnaître qu’il est sans contredit un maître dans son domaine. » MICHELE MIULI – ITALIE Avec originalité et passion, le génial Charles Carson fixe les canons d’une nouvelle norme esthétique: une phénoménologie artistique révolutionnaire imprégnée d’expressivité physionomique et semi-abstraite, avec une interprétation convergeant vers la recherche de la sublimation concrète, pour redécouvrir l’âme de la nature et de ses créatures dans le monde. DOMINIQUE STAL – PARIS Expert diplômé de l’école du Louvre Peinture ancienne et contemporaine D’Icart de la faculté de droit d’Amiens, selon *Dominique STAL; « La valeur réelle des oeuvres de Charles Carson serait bien supérieure à sa valeur actuel à la pratique sur le marché. Une estimation qui s’est trouvée confortée tout récemment lors d’une vente aux enchères d’un œuvre de l’artiste, à Metz en France.» PIERETTE LABONTÉ – MONTRÉAL «Lire les œuvres de CARSON, c’est contempler, c’est découvrir la figuration à travers l’abstraction dans une explosion chromatique qui apporte joie et bonheur de vivre. Elles font du bien au cœur. Leur qualité, leur originalité et leur dynamisme nous entraînent, nous emportent, nous réjouissent.» MICHEL ARSENEAU – CALGARY «Je pense qu’un artiste comme Carson, passé maître dans son art, l’est parce qu’il réussit à découvrir, à voir, à saisir, à transcrire, puis à communiquer sa vision du beau avec une rare sensibilité, une sensation presque épidermique, à fleur de peau. Son sens de la beauté, sa capacité à s’émouvoir devant des choses simples, parfois invisibles pour d’autres, font que Charles Carson perçoit la vie avec une acuité et une intensité telle qu’il peut ensuite embellir notre vision du monde.» LOUIS LEFÈVRE – FRANCE «Avec un style ô combien maîtrisé qui n’appartient qu’à l’artiste. Pour aboutir à une peinture différente. Une peinture éclatante de force et de luminosité. L’oeuvre d’un génie qu’il ne faut pas avoir peur d’installer dans le cercle très fermé des grands, très grands artistes, qui marquent de manière indélébile leur passage dans le monde de l’art et des arts.» ALAIN COUDERT – FRANCE «De purs moments de couleur… Carsonisme » ou « effet mosaïque », ces deux approches ne sont pas de simples artifices de création. » « …à l’époque de la mondialisation qui uniformise tout, jusque dans les arts. Indispensable de le faire pour témoigner d’une époque versatile qui, comme disait Cocteau, « doit d’autant plus être admirée que tout y est éphémère » ? Difficile, mais possible pour Charles Carson. » «La peinture de Charles Carson émane forcément du monde. Sa force – sa différence aussi – est de transformer la vision que nous avons de ce monde, de nous ramener, en donnant à voir l’indistinct, aux choses essentielles, celles qui nous détachent du quotidien.» ANNE-MARIE LAURÈS – PARIS «L’art de Carson est duel: d’une part, il traduit son amour de la nature sublimée, évoquant l’embrasement d’un coucher de soleil ou des instants de la vie animale et végétale; d’autre part son propre paysage intérieur révélé de façon brillante dans ses oeuvres mosaïques.» JACQUELINE DE TORRES – FRANCE « Sur terre, en mer où à vol d’oiseau, le maître incontesté des couleurs et créateur du Carsonisme : Charles Carson, nous fait voyager dans un univers captivant aux dimensions multiples et variées. Charles Carson nous fait découvrir, par sa palette unique et sa façon de faire particulière, une faune ou la vie sauvage, est née de ses rêves et de ses pensées. L’artiste dématérialise remarquablement les formes avec un talent exceptionnel et nous transporte dans un monde passionnant à la découverte des subtilités du carsonisme.» Découvrir Charles Carson, c’est dégager le chaînon manquant de l’encyclopédie de l’art contemporain. LÉONEL JULES – CANADA «Carson part d’un «Degré zéro de l’écriture» picturale pour cheminer vers un dispositif qui progresse en harmonie avec les grandes préoccupations de notre temps. C’est notamment par la présence multiple des divers procédés (décalcomanie, automatisme, Action Painting -Expressionnisme Abstrait pochoir, paranoïa critique –Dali ), qu’il nous est permis d’évoquer de la démesure en parlant de son Oeuvre globale.» YVES BOENING, Boening Fine Arts, Francfort, Allemagne Charles Carson´s Werken liegen zwei Ansätze zugrunde. Zum Einen das „Mosaic“ und zum Anderen einem Stil, welcher von Kunstkritikern und Kunsthistorikern sogar als „Carsonismus“ bezeichnet wurde. Der Künstler ist international bekannt und hat eine vielzahl von Ausstellungen in vielen Ländern der Erde gehabt, wie den USA, Kanada, Europa, England, Kolumbien, den Philipinen und Hong Kong. FRÉDÉRIC BONET – FRANCE «Si son œuvre frappe si fort, c’est aussi parce qu’elle correspond à des notions qui révèle ou encore inconscientes qui hantent notre sensibilité. Créateur née, Carson fait entrer dans son aire picturale un facteur nouveau une forme d’écriture picturale unique, qui donne lieu a une nouvelle technique : Le «carsonisme» Ce genre nouveau lui vaut d’hors et déjà une extraordinaire renommée. Voir et connaître l’art de Carson, c’est réapprendre à redécouvrir les nuances, l’intensité et la luminosité des couleurs, par sa dématérialisation des formes, il nous transmet une source émotionnelles qui nous fait vibré, Carson donne a voir dans toute la dignité de l’art.» PAOLA TREVISAN – ITALIE «We’ve been fascinated by your stunning and powerful abstract art research where forms and colors create such an intense and emotional results.» «…your works reveal their power through the force and the brightness of colors, through the different effects of forms, the textures, the pictorial matter, the magnetic energy from the pictorial sign which spring from the canvas. In your paintings imagination and creativeness are released through the flow of the living and acting forces on the canvas, the interaction of spaces, forms and color connection, taking them beyond to their physical limits.» LISE GRONDINE – CANADA «Je pense que tout le monde s’entend pour dire que les œuvres abstraites et semi-figuratives du mouvement carsonisme de Carson révèlent une parfaite maîtrise et qu’elles peuvent être considérées comme des pièces maîtresses en Art abstrait contemporain, au monde. Elles sont rafraîchissantes, puissamment exécutées et d’une rare expression. Je pense aussi, sans un doute, que Charles Carson sera un des plus grands peintres abstraits contemporains de ce siècle. Cette affirmation est la plus grande marque de reconnaissance à un talent exceptionnel, un témoignage que je n’ai jamais rendu à personne à ce jour.»

Info artiste : (514) 979-8577

Fine Art Magazine – New York City, USA – Winter 2012/2013

CHARLES CARSON 35 YEARS OF CREATIVITY

CARSONISM MOVEMENT

“As Hemingway developed a new style of writing that is oft-imitated, never attained, Carson has created a new way of painting that takes a similar heightened position in the mainstream of contemporary art, a form that is universally accessible but impossible to be duplicated by another. A language all his own forever to be known as ‘’Carsonism.’’

“I will not paint if I have nothing to say.”
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By VICTOR FORBES

UP AND DOWN THE AVENUES, the buildings in New York City, (considered by many to still be the modern day capital of the art world) are decorated with the work of the world’s best-known artists: Stella, Lichtenstein, Oldenberg, Picasso, Kline, Indiana and de Kooning to name but a few. There are massive paintings and sculptures by these and many other all-time greats housed in lobbies, entrances, boardrooms, parks and offices. Attaining the heights reached by such stalwarts would seem to be the goal of most every artist who sets brush to canvas, chisel to stone or ink to paper. So much art has been created over the centuries that to be merely recognized is an accomplishment; to sustain a life of creativity is a triumph. To be hailed as an all-time great and have your work sell in the millions of dollars while you are still alive—that does happen, even if only to a very select group. There are a myriad of factors that contribute to entering into that realm, no singular formula. Often greatness is in the eye of the beholder, embellished by simple twists of fate, connections and timing. Pure talent, originality and depth of message will only get you so far. Bob Guccione said that it took a great leap of faith to see his artistic dreams come to life. “There was a time,” said a well-known dealer who has placed works in major museums, “when you could succeed just on the quality of the art alone, but today you could be the greatest artist in the world and if you don’t know the right people and have the right friends, you often remain unknown. You have to be a showman and a promoter on a much bigger scale than even in the day of Dali and Warhol, plus you now have to be technically savvy to capture the world market. The world got smaller. You have to be popular everywhere, not just New York, Paris or Spain.” Art is a product now, not just a creation. It needs to be marketed, auctioned and accepted by the mass media. The factors that bring recognition to some and lack of same to others are not simply intangibles any more. Such elements are taught more in business and marketing programs than in art schools. People studying art today are told by their professors to prepare to starve, to find other ways to use their artistic talents so they can earn a living. But if anyone said this to Charles Carson, he certainly wasn’t listening.

CREATIVE GENIUS

A language all his own forever to be known as “Carsonism.”
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VIEWING A CHARLES CARSON painting is akin to reading a Hemingway short story. A Clean, Well-Lighted Place comes to mind. Both are exquisitely sparse, expertly rendered. Immersed in a collection of Carsons in a gallery or museum is like having a full-length novel unfold right before your eyes. Indeed, the artist himself notes, “My painting is a spontaneous projection of that which I feel. I stand before my canvas like an author before his blank page.” Hemingway, of course, is an undisputed giant of literature while Carson is peaking in mid-career success. The legendary author is known, perhaps to his detriment, as a “man’s man” and the artist, in his way fits that mold. He is strong and confident, succinct in his manner on canvas and in person. Dedicated to his cause, he spares no effort to manifest brilliance in every brush stroke, describing his energy as emerging from an “unexplainable force, trance-like”, that causes one to surpass limitations. As Hemingway developed a new style of writing that is oft-imitated, never attained, Carson has created a new way of painting that takes a similar heightened position in the mainstream of contemporary art, a form that is universally accessible but impossible to be duplicated by another. A language all his own forever to be known as “Carsonism.”

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Hemingway captured the popular imagination with a revolutionary sentence structure, almost militaristic in cadence, that somehow translated into stories of great emotional depth blending despair with valor, hopelessness with redemption, and great love with great loss. It is certainly a valid comparison to put these two side-by-side for indeed Carson is an undisputed master, a Maestro of his own form. An originator of a visual lingo that knows no bounds, the compositions soar as his spirit allows. Creativity flies, moving ever-onward, staving off unholy forces. Carson’s paintings strive for perfection like Hemingway’s sentences. There’s not a wasted word nor a misplaced droplet of color. Who paints like this today? Theoretically, it doesn’t matter. Not to Carson because he invented his own very specific mode of expression which involves a very personal creativity. His great gift requires great discipline. Putting the time in, often in solitude, expending the greater part of a 24-hour day painting. However, if science could shine a microscope into a person’s mind and examine his make-up, Carson would outshine many.

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In the annals of art history, Carson certainly claims a portion of attention. “Nothing,” he says, “can resist the human will. Man must explore all facets of his freedom. The forces within us are instruments of overachievement.” The will to be one with the world, to belong to the stars and to the grains of sand came to him in the same breath. “The mountains, rivers and oceans, all that make up our universe are sacred places more precious than a golden altar.”

The origins of Carson’s style were formulated in the interior of the Catholic churches he visited as a boy. Whether situated in a rich parish or a modest village, the buildings were reflections of baroque tastes dictated by centuries of religious architecture. “It was required,” notes the artist, “that the House of God be the shiniest and most sumptuous of all.”

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This decor provided Carson’s first aesthetic feelings and discoveries. These edifices of stone and glass planted the seed of a dream, of a vision of beauty. Where else could a young boy view the transformed light of the sparkling stained glass windows or admire the amazing talent of the artists who sculpted the statutes and painted the images of the Way of the Cross? For Carson, even Sacred music has often consecrated artistic vocations. Silence and contemplation played a subliminal role in creating strong, lasting images.

“As a young child, I attended the religious ceremonies. I observed everything—the “trompe-l’oeil” paintings, the priestly garments embroidered in gold, the gathered crowds. I recall these things to this day with emotion. I was already under their spell when I passed through the heavy church doors. I had a precocious awareness of symbols – dipping my index finger in the fountain made me feel pure and legitimized. For what purpose you may ask? To enter a sumptuous treasure trove. To feast my eyes on everything shiny, the dancing flame of the lanterns, the candelabras. Mingled with the odor of melting wax from the candles, floating in the air, the scent of incense…”

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Depending on the hour of day, the light from the exterior would bounce off the plaster saints, bringing their glass eyes to life. The angels of the stained glass windows would become animated. He was transported to another world. “Obviously, only today can I measure the impact these events had on my imagination, in a sublimated and softened memory.”

It is these memories that have served as the basis to create a new style — a completely new pictorial language — that makes an appearance on the scale of artistic values in a way that has nothing to do with the current directions, genres or styles that are mostly found in today’s or any day’s art market. Born in Montreal in 1957, Charles Carson has been devoting himself entirely to his art since 1983. Over the years he has participated in numerous exhibitions in Canada, the United States, Europe, Asia and South America. At the age of 33, Charles made his own discovery of Latin America and lived in Columbia for nearly 10 years. Here he produced extraordinary and exotic works, yet he always retained his sensitivity, depth and vivacity, as well as the dynamic range and variety of composition. Yet his paintings still hint at the winters of his youth — those gray storm-clouds that visit his works and give them a striking three-dimensional feel. “Although born in Montreal, I spent many years living in remote country settings where.

“Today I am no longer preoccupied by the foibles of life. To the contrary, I allow myself to go with the flow and to let my imagination run free. It is the best way to face life.”

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I pursued my chromatic search before moving to South America. I wanted to live new experiences, artistically as well as culturally. I developed a passion for skin-diving and gained artistic inspiration from scenes on the ocean floor, from the multitude and variety of colors to the cathedral light produced by the sun piercing the ocean surface. One day, I nearly lost my life during a skin-diving expedition. The whirlpool that nearly swept me away did not affect my love for open water.”

Be it the roar of an ocean or the flow of a river, the excitement of the potential danger manifested in broad strokes of the pallet knife, in blue sheaves and successive waves, to form the pictorial theme of a marine scene in the Carsonism or mosaic movement.

By, Arévik Vardanyan, Advisor in art and museology

What creative energy !

“…one must recognize the undeniable talent of Charles Carson for his exceptional sense of chromatic harmony: his blue inspires dreams, his red surprise the eye, his yello illuminates the heart…”

“A chromatism that is at once harmonious and audacious, a play of transparencies and depths, dynamic composition and a continually renewed sense on innovation. Here is the winning recipe that propulses the artist from one success to the next.” /2003

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Influenced through his admiration of van Gogh, Cézanne and Turner, at thirty-three, Carson spent time in Latin America where the spirit of inspiration gleaned from Columbian and other landscapes led him to a new personal era of expression through his imagery. Carson made a name for himself there, where he held numerous exhibitions and developed an amicable relationship with Fernando Botero. While many native artists left for Europe and America in search of fame and fortune, Carson found international recognition from his stay in South America. The influence the painters, topography and people of Colombia exerted upon the young Carson, and the vibrant and ancient culture that he absorbed, is evident in much of his work today.

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In recognition of his contribution, a life-size statue of the artist in bronze has been on view in a major Cartagena public building since 1997. He also created a monumental mural entitled El Caballo del Mar for the main hall of Cartagena’s principal airport, and he executed another mural entitled Yo hice lo que tu querias for the Church in Santo Domingo (a renowned Heritage Monument).





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Carson’s travels were the impetus for his deep feelings regarding the social and ecological problems of today’s societies. His fascination with and love of nature occupies a primary place in his creations. A major turning point in his work were tropical scenes combining colors usually associated with a Caribbean sunset. From this starting point, he produces even greater depth and power than would seem conceivable from the paint. What technique manages to get such verve from color, and yet such detail? Again, it can only be described as “Carsonism.”



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By Guy ROBERT, (1933-2000) - Founder of the Musée d’Art Contemporain de Montréal

Carson a discovery … “Carsonism”, 1992

“In my capacity as art expert and historian, it has given me great pleasure to examine a significant quantity of the artist’s paintings. I was struck by their freshness, dynamism and rhythm — the freshness and vivacity of the palette, the dynamism and diversity of the compositions, the rhythm that animates each segment of his paintings, much like the best jazz piece whose sense of improvisation opens up the instinctive structure of the melody and animates it with its syncopated syntax. If one prefers, it can be compared to a Scarlatti sonata or a Vivaldi concerto whose variations and modulations define the structure and subtlety of the piece.”

Carson gives his paintings a depth that makes the best demonstrations of perspective pale in comparison…none of contemporary art’s well known “isms” seem appropriate and I must resign myself (with great satisfaction I might add) to naming this new movement: CARSONISM !”

Guy ROBERT, (1933-2000) - Founder of the Musée d’Art Contemporain de Montréal, art historian, writer and editor,author of an analysis in which “Carsonism” was described in glowing term. “Carson to the ism” was described in glowing terms.

"There is one constant in all of the analyses and for each of the experts and art historians and it is this: Carson’s work generates energy, an unparalleled “joie de vivre” which is reflected in a mastery of forms and transparency of colors."

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His physical control is always evident and he paints in bold strokes of incredibly vibrant color yet with a delicacy and intimacy that touches an emotional chord in the viewer. The making one of the strength and softness is the basis of the resultant beauty. This masterful technique has gained the artist a legion of collectors and admirers internationally and his works are sought after by serious collectors around the world.

What is especially interesting and exciting about Carsonism is the fact that he was determined from the onset to contain his desire to be recognized as an exhibiting artist until he was confident that his body of work — from the very beginning — would be unique in a world where imitation, appropriation and other flattering forms of self-indulgence were and still are rampant. Carson’s approach was like that of a monk, or a martial artist in training who would not come out to do battle until totally confident that the results would end in victory. Of course, there are no guarantees in this life of anything, yet Carson took that leap of faith, based upon years of study, trial and error and inspiration.

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Early in his career, the artist employed traditional techniques, gaining inspiration from his environment. His early figurative works left him unsatisfied and he started to lean towards a semi-figurative and extremely personal style of painting. This technique, along with his unique pictorial language rapidly affirmed themselves and his talent was revealed with each new creation.

The artist produces extraordinary works that exhibit sensitivity, depth and liveliness, as well as dynamism and variety of composition that characterize his work. “From an early age, I was in search of other sources of inspiration. I was born with a personality that was exuberant, imaginative and inventive. My inherent curiosity instilled in me the desire to delve beyond a simple explanation of how something worked. My persistence helped me to find answers to many questions – not necessarily the best answers or those that were for my own good.

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Carson’s imagination led him to a sense of a place beyond, higher, farther, deeper. He was seeking out a unique destiny with other universes to discover. Hence his fascination with the underwater life, so evident in many of his paintings and other universes perhaps yet to be discovered. His goal was to create a life for himself as an artist that was not subject to anyone’s authority. Refusing to follow a predetermined path, he greatly preferred the unknown.

In international art exhibitions, Carson’s work stands alone. His stalls are sanctuaries in which he and the viewers can escape to a tranquil place, inhabited with a realistic presence of the aforementioned storm clouds but marked with a placidity, a bouquet if you will of sweetness and softness. The flowers, the fish and the birds are created with a power reflected the divinity of their creation, represented by an artist who considers it his right to transform a concrete image of the eye into something different guided by his innate sensitivity and an artistic gift that allows him to incorporate into his works personal feelings, to share his universe of color, dreams, thoughts and emotions.

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Carson says, “The art of painting is to forget the subject matter; it no longer exists, relegated to the shadows, lights and reflections of color.” van Gogh may have said the same thing. They both take the reality of a scene and transform it into their own very specific concoction that somehow, when put together, is a coherent, emotional and brilliant force. Watching Carson at work is like watching a tiger in his natural habitat. Stalking his prey, the artist is firm in his quest. The quest being perfection, that is to make something, lterally out of nothing that has an impact on one’s emotions and beyond that, to get the world to recognize his creations as valuable entities in the continuum of art history. It may be legitimately asked, how many artists are so instantly recognizeable that critics had to come up with a name, i.e. a school of thought even, for the produced work. That Carsonism has caught on is not just a freak show or the work of a great publicist. The fact is he has taken all the schools that have come before him, blended them into his subconscious and developed his art form.

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Carson is far from one-dimensional and a follower of no one. He would not exhibit a single painting until he was certain he had created an approach that could only be attributed to him. It came after years of contemplation, hours of experimentation and decades of polishing a format that came to be known as Carsonism. How many artists are so attached to a style that the world recognizes it by the artist’s own name? Was there an artist named Impression? Or Modern? No. Carson created his style, his language and whether it was because he was ostracized in gym class for lack of athletic ability, or because his family didn’t send him to a fine art finishing school, or whatever the reason, Carson put himself in front of that blank canvas, or whatever else he was working on, and made it resonate with his own words. It’s a language we all can understand, no matter the country of our origin and it is a lot easier to communicate internationally in this manner.

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How did you grow into becoming an artist?

I did not attend a fine arts school despite my desire to do so. Neither my family nor social environment fostered such pursuits.

Regardless, this did not inhibit my perpetual search for a pictorial language.

The “still life” paintings that I was working at during this time were academic exercises. The subject matter was of little importance. These studies allowed me to explore space and depth, two elements that would be crucial to my future work.

I was also doing glass etching with a diamond tip. By superimposing layers of glass, I produced the three dimensional effect that I was looking for. I experimented with various processes, including: collage, copper, paint and grass. The inspiration came from my discoveryof the magnificent Lalique crystal in Europe.

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Although this creative technique was received positively, I was not through searching. I continued to perfect my technique for juxtaposing colors, using acrylic to create vivid abstract forms. On a linen canvas, I spread pieces of colored glass, complemented by strokes of acrylic to create an impression of haut-relief. Then, to make the colors explode, I highlighted them with an ultra bright lacquer. I was fascinated and seduced by the art of the master glassmakers of Murano and to emulate their artistry, I heated huge, multi-level ceramic ovens, created moulds and inserted my glazed pieces at a temperature of 2,000 to 3,000 degrees.

What kind of artist tools did you employ?

I desperately wanted to reproduce with paint, the textures, forms and transparency of stained glass windows. I used oils, acrylics, pastels and charcoals in my artistic process. All recovery areas served to advance my experimentations for adherence and durability.

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I spared no effort during these years of experimentation with special effects and contemporary art. I would drop bags of paint from the roof of the house and rush to see the splatters they created on the sidewalk! Or I would use a drill to spin a panel I had coated with different colors of acrylic paint. Not to mention the balloon filled with paint that I would burst over a canvas… I even used an old bicycle wheel to spread colors on a canvas to see the effect it produced.

Once, I nearly burned my house down experimenting with a special lacquer. This misadventure brings a smile today. I learned that paint and fire do not make good partners. In my efforts to recreate the “Murano effect”, the wooden roof of my studio as well as the work in progress were reduced to ashes.

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By Robert Bernier

MOSAIC MOVEMENT

“Charles Carson’s painting is divided into two approaches which are both distinct and complimentary. One was even named Carsonism by some art critics and historians. This approach is not easy to describe, but generally speaking it is composed of an infinite succession of slightly oblique strokes which, on the surface, add maximum energy to our perception of theme and subject, with the whole being animated through subtle transparencies which are quite sensational, creating an impression of depth and color. It’s like an incessant flow of particles — all the same size — which sweep the paint with fascinating, even disconcerting regularity. Carson’s second approach is simply that of mosaic. As its name suggests, we find a fragmentation of form and surface characteristic of the mosaic style. In both instances the artist endows the surface of his canvasses with great energy, creating an altered state in which his powerfully metaphorical universe is expressed.”

Robert Bernier, art historian/Magazine Parcours, The Advisor of Arts – Winter 2004

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This incident, as is often the case with fortuitous scientific experiments, allowed me to perfect a mixture of glass and epoxy finished with a blowtorch.

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I lost count of the number of plaster moulds that were sacrificed for the cause. Not to mention the kilos of glass tiles used during the mosaic experiments. Since those days, I have used an acrylic paint that is more malleable for the textures, dries more quickly and allows for multiple layering of color. My first subjects were bouquets of flowers, done in an abstract style.

For me, the message necessarily had to be communicated with the proper tools. I strove to find a language that was personal.

It was both a quest and a challenge.

Jacques de Roussan, (1929-1995)

Historian, publisher, writer and art consultant.

“Charles Carson presents us with magnificent visual richness. The viewer must learn to read – consciously or not – the scenes or subjects being proposed. Carson interprets and transposes with great strength and subtlety. An attitude that within the visual arts world, precedes and follows all major careers.” – 1993

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My first inspirations for the Carsonisme and mosaic movements came from Quebec. The stained glass windows of our many churches as well as the color and transparency of the province’s spectacular autumn scenes fascinated me. The image of autumn leaves reflecting in the river culminated in the mosaic movement.

In my younger years, I was fascinated by sunligh-t shining through stained glass windows. This image has always had a hold of my imagination which probably explains why I have always sought to replicate this transparency and luminosity and to create the effect of light coming from behind the canvas. Both the Carsonism and mosaic movements are reflections of water in motion.”

— Charles Carson

“Hero of Creativity” – Let the next writer come up with a better catch phrase, for now that is a standard they have to top.

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By CHRISTIAN SORRIANO, Paris 2009

Art no longer holds any secrets or mysteries for a seasoned pro like me. Copyists, imitators and opportunists are quickly unmasked; self-proclaimed “artists” daubing in images of the sea, flowers, bodies or faces that have no soul, no emotion.

Shunning popular trends and cheap visual effects, Charles Carson reveals the many unique facets of his immense poetic skill in each and every one of his paintings. They offer a breath of life, his life, questioning and delighting the minds and trained eyes of connoisseurs.

Charles Carson has staked his claim to artistic posterity, for today one proclaims “it’s a Carson” in the same manner that one refers to the works of immortal artists like Picasso, Matisse, Warhol or Basquiat.

Christian SORRIANO, President of Drouot Cotation and Hotel Lausanne, Switzerland, Expert in Arts and Antiquities for Hotel Drouot auction and Expert in public auctions, Expert and assessor with the Customs Commission, Expert for Administrative Tribunals, Expert with the International Union, Official government representative, by ministerial decree dated December 2, 1992, with a mandate to organize the “Art and Antiquities Professions”




What Carson has done is invent an approach to life that is that of a warrior wielding a paintbrush for a sword, A ninja in paint. His mannerisms are disciplined. There is no waste or obfuscation. Everything is crystalline. Shining, bright and brilliant, even in the way he operates the front end of his business, travels to exhibits, sets them up, prepares the wall space of an exposition so that every inch is maximized. He is not going down without a fight and every aspect of his creativity is measured.

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Hemingway’s sentences are short and sweet. Could he write like Fitzgerald or Faulkner or Steinbeck? Maybe. Pollock could draw. He could render so that when a fool looks at a drip masterpiece and says, “My kid could do that,” well maybe. But he certainly couldn’t knock out a realistic charcoal passable sketch which gave Pollock credibility with the so-called cognoscenti.

It is an artistic and creative fact of life that Carson goes about his work with a precision that is almost unfathomable.

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Therefore one might ask, could Carson create in another manner? Maybe is the an­swer again. But it is clear he never wanted to be anything other than an original. What is true about Carson and many other great artists is that they put the time in, often in the deepest of solitudes, to accomplish their vision. This is the part that is most daunt­ing for a human being. Have you read that the author of numerous best-sellers, Harold Robbins, with all the money he needed, had one room painted in his home totally black, with only a desk, typewriter and single pointed spotlight attached from the ceiling to shine over his shoulder onto the matter at hand, in his case words on paper? Carson’s fierce spirit of determination and invention is akin to this. Even the small paintings—not to be confused with a minor work because none of Carson’s work can be deemed mi­nor — contribute to the thematic line of his vision. The point may be not only to create a new language, but to say something in it by taking the alphabetical fragmentation of each word and making them into a coherent statement of power. An artist uses various tools to perform such a task and Carson’s experiments (successes and failures) with glass and kilns and explosions and his years of sitting in Catholic churches as a youth in rich and poor parishes of his native Quebec and being enthralled by the imagery and refractions of light on and through the glass are well-documented.

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“Charles Carson has the art of deconstructing his designs with an astonishing elegance. The purity and transparency of colors and their juxtaposition bring them all into a harmonious whole stemming from and inspired by the pleasure of handling forms. These enigmatic compositions, transformed in the laboratory of his fertile imagination clearly show the mastery of the artist.”

— LOUIS BRUENS, (1928 - 2013) Art historian, writer and expert,

Founder of Académie internationale des Beaux-Arts du Québec



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Carsonism came about through his adaptation of the aforementioned media into application by brush on canvas. Not since Pousette-Dart has anyone done this with such power and coherence. While Pousette-Dart built his paintings up with oil, sometimes over the course of 30 years, and created embryonic universes within and without the rules of art — brilliant universes of revolving natural forms that from a distance as well as from up-close reveal secrets of creation unknown to most mortal men — Carson, in devising his approach, takes a similar path to a similar result with a voice all his own. In addition to his soulful work, what I loved best about Pousette-Dart comes from a story his wife Evelyn related just before his one man show at New York’s Metropolitan Museum of Art.

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“Richard told the curator that if his banner outside was one inch smaller than Picasso’s, they could forget about the show.

While nowhere nearly as famous or collected as Picasso, at the recent Armory art fair, the Poussette-Dart’s were flying off his gallery’s wall at about $400k for a 30” x 40”. Mid-show, I heard the dealer call Evelyn asking for more.

That, say more than a few scholars and critics, is how it will be for Carson. He is young enough to attain that level; also skilled enough and also original enough. He’s going to France for three years to concentrate on making museum pieces and they will have to think hard to come up with better a headline than this: “Carson to the ism” and “Hero of Creativity.” Let the next writer come up with a better catch phrase, for now that is a standard they have to top.

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Whether fighting off the gym class bullies or working his way out of a cylindrical spout of water in which he almost drowned, Carson’s paintings show a power that opts for life. In the Carsonism pieces, he recreates natural scenes with deconstructionist vengeance, the three dimensionality of his minute dollops of sculpted paint surround the spaces, fill the emptiness. That’s Carson to the ism. Clean, well-lit. Fully functional but esoteric.

“Oh, there’s a bird amidst all that,” a viewer would note. Or a fish. Or a reflection from light cascading to the depths of the sea or a natural burst of energy from a trip up the Amazon. Carson has been there and done that and the main thing is that he gives these scenes, these segments, these minute conglomerations of acrylic a glazed energy so that when they are combined into one unit you see exactly what he wants you to see. The veil is opened, but the real question is: “to what ?”

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That’s where the art critics come in. They know and they have seen. Carson isn’t saying. It was more than enough for him to invent this style and then to top it off with what he calls the “Mosaic Movement.” This is a whole other field of dreams, but if you could chop off a bunch of square inches on a mosaic and drop it into a canvas of Carsonism, they would work together. Blend somehow in unity. After all, wasn’t it the American poet/philosopher Eli Siegel, founder of Aesthetic Realism, who was famous for his statement, “Beauty is the making one of opposites.”?

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Yes, it is an artistic and creative fact of life that Carson goes about his work with a precision that is almost unfathomable. Look at a masterwork by Vasarely. A modern viewer could not imagine anything being executed like that without the help of a computer generated graphic. Carson’s pieces are puzzles that come together as a triune entity of paintbrush, palette and painter as One and they must become as one integrated into the format necessary to produce masterful depictions of whatever the artist envisions. They work as if a Sumi-e drawing because Carson makes no sketches, no pre-conceived notions. Just step up the plate and hit the ball out of the park.

As successful as he is, there is a hunger to Carson that seems to be unquenchable. An insatiable thirst to do more, to do better, to be the standard by which all other artists are measured.

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In this world, there is a train to glory and Carson is a passenger, riding close to the front. John Dunne made this statement for eternity: “No man is an island” and that’s for sure. “It matters not for whom the bell tolls, it tolls for thee.” Carson sees this and his stance as an artist of great individuality is tempered by his compassion for the earth and his fellow man. His paintings are manifestations of his thoughts and deeds, his hopes for a better world, a just world, a beautiful world of peace and harmony. Knowing this about him further fuels our interest in his creative vortex — a whirling mass of sensibility and sensitivity to not only God’s love but our obligation to our Creator to return favors granted. This is the meaning of the creative life in which we strive for greatness, recognition, riches and fame (of course) but in doin

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PeintureContemporaineCharles CarsonCarsonismeMosaïque