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Notes Bibliographiques : Revue Le Parcours
Notes Bibliographiques
The will to leave one’s mark
Parcours Magazine - Art & art of living, number 71 - Paths Publishing (ISSN 19 158 866) - November 2010- February 2011

Charles Carson

The will to leave one’s mark

« After all these years having closely followed the career of Charles Carson, I can affirm that the the Canadien master has left a profound mark on the history of painting in the first décade of the 21st century. »

Caroline Bruens,
president of l'Académie Internationale des Beaux-Arts du Québec

More than thirty years ago, at the beginning of the 1980’s, Carson devoted himself professionally to his art in a traditional manner at the outset, getting inspiration from his environment. His first paintings were figurative but, unsatisfied with the results, the artist created an extremely personal semi figurative style, whose qualities I was able to appreciate. Since then, his style and pictorial language have continued to assert themselves and his fame has continued to grow. Having followed his evolution and career on the international stage, I have observed this continual rejuvenation that continues to this day.

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L'informateur des arts - hiver 2004 - vol. 9, no 4

EXTRACT FROM DE REVIEW OF ART “LE PARCOURS” winter 2004 - vol. 9, No 4

Sixteen pages report of Charles Carson … publication Winter 2004,

By : Robert Bernier, art writer and publisher.

Carson..."My work is a spontaneous projection of what I am feeling ; I stand before each new canvas like a writer facing a blank page."

«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 colour. 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.»

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