1992- Charles CARSON a new ISM...Study of the work of CARSON and analyzes of a new "ism". By Louis Bruens ,historian in art and founder of the Académie Internationale des Beaux Arts du Québec. 1992- Analyzes of a new "ism"

EXPERT ADVICE

"The painting I am referring to here, which could easily be qualified as contemporary, is not related to Impressionism or Expressionism or Surrealism or any other "ism". It is part of a scale of values totally dissociated from the trends, types and style generally found on the art market. Im my opinion, it is totally different from what has been done in the past and from what is being done today Surprise is inevitable when viewing a Carson; then, slowly, surely, and serenely, his world unfolds and initial surprise gradually gives way to delight.

Charles Carson is not a non-figurative painter with the meaning of this term. His paintings must be viewed as a detailed group of everyday things, some of which are immediately obvious while others can only be discovered after contemplation. None of the objects he paints are really or truly deformed in spite of their appearance which is due rather to the effervescent colors; after a few seconds of visual meditation, they appear in a reality all their own.

Charles Carson has indeed developed a new method of transposing nature and its objects in a way that corresponds perfectly with the rules of aesthetics in composition and chromatic intensity. His is a new art form, very much part of contemporary art yet accessible to all.

The perfect coordination of planes, the harmony of rhythm, the dynamic organization and the brilliance of Carson's palette bring to mind the best and wonderful Riopelles of the 50s and 60s

It bears repeating that Charles Carson's art is not abstract and if some specialists consider it to be such, they should add that it is a much lesser degree of abstraction than pure abstraction. Very recognizable figurative forms immersed in a world of relatively undefined configurations perhaps, but always directly related to the dominant elements.

Charles Carson's bold and fascinating chromatic compositions remind us of what Kandinsky wrote in 1910 in "Uber das geistige in der kunst" ( The Spiritual in Art): " The boldness of color in a painting must attract the spectator forcefully and at the same time mask the deeper content. The colors of Carson's palette do not mask, they slowly reveal with equal depth what they seem to hide initially and still succeed in maintaining the spectator's entire attention as he more or less consciously continues to seek out new elements.

1993- The founder of the Museum of Contemporary Art of Montreal, admirably described the "Carsonism" in its book "CARSON a new ISM... The CARSONISM", Iconia publication

Guy ROBERT- (1933-2000) Writer, historian and art expert, art consultant and publisher.

"Carson gives to the work a particular depth, more fascinating than the most capable control of the wisest systems of perspective" "the impression of freshness and energy that leave works of Carson partly comes from the brilliance and the purity of the colors, harmonized in its juxtaposition given rate and ventilated by target interstices." "... the discovering painting like Carson's can only stimulate the stirrings and perfumes of a long-awaited spring.

Jacques de ROUSSAN, (1929-1995) historian and art expert in Fine Art.

Charles Carson subliminal techniques.

"(...) « a chromatic kaleidoscope, producing a veritable feast for the eyes. It is a new form of painting, a sublime pictorial language in which one discovers an in-between world in constant and perpetual motion.»