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40th Anniversary Edition
Honoring Heroes of Creativity
CHARLES CARSON F C REA T
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Editor-in-Chief Victor Forbes presents Charles Carson with Fine Art Magazine’s Hero of Creativity Artist Award at a gala reception in New York City to commemorate the 40th Anniversary of Fine Art Magazine
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At the Montréal Museum of Fine Arts Gala Academia XXI AIBAQ, Charles Carson was honored with the Gold Medal Academia by Umberto Bruni (1914-) Dean of Painting in Quebec, Governor AIBAQ
n November 9, 2015, at Fine Art Magazine’s 40th Anniversary accept his award with such grace and humility. He and his family gala in New York City, Charles Carson was honored with brought that Spirit of Creativity with them and the room was the publication’s first “Hero of Creativity better for it.” Award” as an artist of special merit, a Grand Master. Carson has been recognized by his peers in the It was a memorable evening of tribute with many world of art with numerous awards for the outstanding art world luminaries in attendance at the event held quality of his innovative artistic productions. He in the prestigious Trump World Tower, 845 United continues to create original and dramatic works to sustain Nations Plaza. Fine Art Magazine publisher Jamie and develop his flourishing career. His devotion to his Ellin Forbes, in her introduction stated, “Through art never fails and year after year he successfully takes his art, Carson demonstrates a unique understanding his role as an international ambassador throughout the of 20th and 21st century iconic imagery which he world to the highest levels. Rigorous criteria are used to combines into a formidable expression using paint establish an honoree. and application to unite the flow.” “The Michel Art Gallery is proud to be the Editor-in-Chief Victor Forbes, in describing representative for Charles Carson in Florida,” commented the basis for such an award, noted “Over the years Gallery Director Mary Michel. “This collaboration has we have published and viewed the work of countless led to a great synergy between the artist and the gallery. artists. Each, as Jasper Johns pointed out, heroic in Receiving the Hero of Creativity In part due to Charles’ outstanding reputation and their own right. We recognized Charles Carson for Award from Fine Art Publisher masterful works of art, the Michel Art Gallery has grown this award because he represents the best elements of exponentially with the addition of many other international artistic creation. In this, our 40th year of continual and nationally renowned artists.” A compilation of the work of some of the artists on publication, one visual artist was selected for this view at Michel Gallery is featured in the following pages. singular honor. Maestro Carson came to our event to 65 • Fine Art Magazine
CHARLES CARSON
A Language and Style All His Own… BY JAMIE ELLIN FORBES & VICTOR FBENNETT FORBES “Beauty,” noted the founder of Aesthetic Realism Eli Siegel “is Therefore, we have found it a great honor to be involved with many the making one of opposites. ” “Genius,” said Dion DiMucci, Hall of gifted people in the arts. Some have risen to great acclaim and Fame musical legend for seven decades, “is how far one is advanced importance while others fall by the wayside, but the intrinsic stories from his or her contemporaries.” The “Beauty of genius” or “The of the artists are pretty much the same. Those who are special bring genius of beauty” are twin peaks sought to be conquered by many. their desire to communicate through a window they open to their To ascend the heights and come back alive, one must climb over soul to allow the viewer to experience something deeply personal. treacherous drops, scramble around obstacles and take courageous We see that in the paintings of Charles Carson. The artist does leaps of faith. If you are not totally focused on each step this and such work is very important in all cultures. of your mission, you could get hurt. With that in During this period of time, when people redefine mind, one must carry in his knapsack a skill-set values, they will find it much more evident beyond reproach. An innate understanding so that art and artists will become more of composition, structure, layering of important than they have been in the last color. A technique incomparable and ten or fifteen years outside of certain an understanding that the life you collectible concerns. are living is leased to you for a very “My initial foray into specific purpose. discovering Carson’s art was like These points are central a food for me. Describing his in understanding the milieu of experience and offering it to Maestro Charles Carson, a Grand people to enjoy continues to Master of Art. He stands in the be incredibly satisfying,” noted forefront of a crowded field in Fine Art magazine publisher which so many are fighting for Jamie Ellin Forbes in her remarks dominant space on the trail, a i n t ro du ci ng C ars on to th e place to stand on the summit. The audience as she bestowed on him Maestro leads the way, knowing that the magazine’s Hero of Creativity what sets him apart today may not be award. “Energetically, when viewing enough to keep him there tomorrow. his work, Kandinsky, Mondrian, Picasso Carson is a legitimate contender and van Gogh come to mind. Although for an important place in Art History. He one could say that there are those influences, is acknowledged with awards and prizes from Carson has a great respect for any artistic process many important international art organizations. that is authentic, understanding since he first picked In 2013, he was named “Grand Master of Fine Arts” by up a paint brush that it is vital to avoid ephemeral fashions The International Academy of Fine Arts of Quebec, among other and trends. accolades. Art historians and museum directors around the world “Initially, it was difficult to discern what the abstracts were have deemed his personal artistic language — Carsonism — to be an telling me. Now I understand them very well. The language of the ode to his intricate and highly original works which are as punctual more Impressionistic pieces — the dreamscapes — is very unique and directed as the artist himself. He makes strong paintings in two with the interplay of color usage and balance. The florals and distinct styles. The” Carsonism movement,” as he calls it, is defined seascapes invite you into the space to taste the colors. You are part of as “a totally unique form of pictorial writing, transparency, clarity the process of whatever this moment is that the artist is describing. and juxtaposition of colors.” In The “Mosaic movement,” as its name You are welcomed into the imagination of the process, which is far suggests, we find a fragmentation of form and surface characteristic deeper than a mere snapshot. Here you will find the inspiration and of the mosaic style. In both instances the artist endows the surface mystique involving the colors combined with the rendering of the of his canvasses with great energy, creating an altered state in which line: defined and united, yet singular in their presence, made all the his powerfully metaphorical universe is expressed. Dimensional more powerful by their coalescence and shared space which not only paintings are built up of paint and then glazed so that they combine enrich the composition but enable the viewer to comprehend the logically and intricately to give the appearance of a polished sea of essence of the artists’ vision.” possibility, glimmering mirror-like in a bath of pristine luminosity. The substance of Carson’s paintings is the application and creation Christian Sorriano, Fine Art and Antiquities expert from Paris of the form married to the colors so that the compositions becomes very and President of Drouot Cotation, sings Carson’s praises. “Art holds free, very available for analysis and discussion to those who care about no more secrets or mysteries for a matured expert like myself. …Far such things and very open and available for those who simply like to from common trends and cheap visual effects, Charles Carson shows look at a pretty picture. The quality, the union — the synergy — brings each and every unique feature of his great poetic skills, offering in success as the artistic statement is there and quite inspiring. Researching his work a breath of life, his own life, therefore questioning and and reflecting on his inspirational body of work, it is evident that the delighting the minds and the trained eyes of the connoisseurs who artist has a great drive, capacity and enthusiasm to out-do himself hang it on the walls of their daily lives.” with each new creation. The level of his painterly energy carries the Over the four decades we have been publishing Fine Art artistic statement through, bringing it to life and making it readily magazine, we have had the privilege of meeting many gifted people understandable. His colors serve the message even as the message over this generation-long space in time. Can you imagine what it serves the color. Carson, through his unique approach and visual would be like if people didn’t have art? It would be a terrible plight. language, lets people know immediately through the finished product 66 • Fine Art Magazine
Fleurs enéclats, 60” x 60”, Mosaic movement
what is that piece of the dream, that metaphor he is describing — his alphabet, as it were. When you do this successfully, you instantly have the viewer. As complex as his structure may be, in a way the paintings are concise, succinct and dynamic. Like Hemingway’s prose, they take you to a clean, well-lighted place, even to a moveable feast. There’s a tempo to these works, a cadence that moves your eye through the structure. You can’t just move color around as if you’re Barnett Newman if your compositions are shoddy. You cannot extrapolate a message unless you know form. Carson applies the paint with a sense of color as if the light were coming through as if a kinetic activity in a stationery work of art. With this energy the form that results through this enhanced application of color is obviously from his subconscious yet well-studied intent. His vision allows him to step between the spaces and resultant colors not only emerge, but they vibrate. As one form transitions from dream to reality and reality to dream and the abstract in-between, Carson manages to keep the 67 • Fine Art Magazine
CARSON TO THE ISM Charles Carson is cited in the MultiDictionary Of The French Language 6th Edition, Québec Amérique Marie-Éva de Villers CARSONISM: Painting technique created by the Quebec painter Charles Carson. The Carsonism is characterized by a totally unique form of pictorial writing, transparency, clarity and juxtaposition of colors. This onomastisme, its definition and example that accompanies it, are taken from Martin Gabriel, Quebec onomastismes dictionary: words from our own names.
Récif, 60” x 48”, Acrylic on canvas, Carsonism movement 68 • Fine Art Magazine
transparency and the colors incredibly clean, which is rare. They are built, they have definition and there is a certain texture to the resultant paintings that is complex to arrive at. This combination of harmony and tempo is very complex and difficult to arrive at yet, via his painterly process, Carsonism emerges and it is unlike any other school of thought to date. He set out to be singular, to use the standard materials as no one before him has and he has succeeded. There are elements of this work not seen elsewhere nor has this technique been done elsewhere. He is the only one in the world doing this style. Founding a process, a language and an artistic technique all his own, Carson is well on his way to taking his place among the great artists of the era. Carson’s power comes from a strong sense of originality and independence. Born in Montréal in 1957, the artist’s first inspirations for the Carsonism and mosaic movements came from Quebec. The stained glass windows of the region’s many churches as well as the color and transparency of the province’s spectacular autumn scenes fascinated him as a child. The image of autumn leaves reflecting in the river culminated in the mosaic movement. He did not attend a fine arts school despite a desire to do so. Neither his family nor social environment fostered such pursuits. Regardless, this did not inhibit his perpetual search for his very own mode of expression. “In my younger years, I was fascinated by sunlight shining through stained glass windows,” he recalled in a recent interview. “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.”
Fond marin, 30 x 48, Carsonism movement 69 • Fine Art Magazine
Bouquets de fleurs, 60” x 40”
Soleil d’automne, 40” x 60”, Mosaic movement
Charles Carson is one of the few contemporary artists who manages to forget himself to leave room for the creative process. His inspiration continues unabated over time as each of his paintings reveal a passion for life and nature. The forthcoming collection of new works will blossom under American skies this coming year. Finding his passion for painting in the 1970s, Charles Carson began to work in the US and South Ameritraditional motifs, gaining inspiration from his environment. These first works were figurative. He found in the end, however, they were inhibited and unsatisfactory in stating his own artistic needs. On the journey to create his own approach, abstract and figurative gestures were combined. This technique, along with his unique depiction of imagery as universal glyph, rapidly affirmed his creative vision as a talent distancing himself from other stylistically known motifs. Carson has embraced his chosen mode of expression with the passion of a master, the nerve of an adventurer, and the intellect of a historian. Born in Montreal in 1957, he discovered his calling as he approached his teens. Frustrated at an early age with his own futile early attempts at originality, Carson, in adulthood, went on a quest to 70 • Fine Art Magazine
find his vision — to Europe, Asia, the US and South America fueled by the sea, forests and wildlife as well as his lofty personal ideals. He became infatuated with the world’s fragile beauty; indignant in the face of man’s lack of conscience. It did not take him long to find out that the world was upside down, and when he discovered this, he sought to make it right. His artistic palette as a colorist incorporates both abstract and figurative vision in image allowing Carson’s interpretive landscapes, marine scenes and still life works to be infused with an affirming passion, while remaining within the structure of classical composition. “ The stil l lif e paintings I was w o rk i n g a t d u r i n g t h i s t i m e w e re 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
These enigmatic compositions, transformed in the laboratory of his fertile imagination, clearly demonstrate the mastery of the artist. 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 glass. The inspiration came from my discovery of the magnificent Lalique crystal in Europe.” Although this creative technique was received positively, he was not through searching. Kandinsky’s words from his immortal little book, The Spiritual in Art, published in 1910 (“The boldness of color in a painting must attract the spectator forcefully and at the same time mask the deeper content.”) left a lasting impression on the young artist. The impact of his colors were developed in Colombia and other tropical vistas, far away from the winter of his youth — those endless nights where different shapes haunted his compositions, giving them a certain presence of dimensionality. In those cold days, he learned to focus on that hidden dynamic which so energizes his work. Continuing to perfect his technique for juxtaposing colors, he began using acrylic to create vivid abstract forms. On a linen canvas, he would spread pieces of colored glass, complemented by strokes of acrylic to create an impression of haut-relief. “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. Desperately wanting to reproduce with paint, the textures, forms and transparency of stained glass windows, he incorporated oils, acrylics, pastels and charcoals in the artistic process. Then, to make the colors explode, he highlighted them with an ultra bright lacquer. Carson 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! 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,” he states. ”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. 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. 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.” In the mosaic technique works he consolidates miniscule droplets of floral energy complex solutions of color, in a process that must be akin to Pollock’s drips or Vincent’s creation of the cosmos in Starry Night. No one can say for sure, but what Carson does share with the aforementioned artists is total devotion to painting. “Daily, faithful, obstinate, continuing to this day encompassing the discipline that art requires amidst the ups and downs of life.” He works, more often than not, in complete solitude and has no specific intention when he approaces the blank canvas. It is a wolrd waiting to be invented. Forms and figures are esoterically rendered and well-preserved, showing themselves to the artist after a few moments of concentration. “For me,” concludes the artist, “The message necessarily had to be communicated. I strove to find a language that was personal. It was both a quest and a challenge.” One in which, as time has surely shown, he has emerged victorious. 71 • Fine Art Magazine
Magic, 16” x 16”, Mosaic movement
Fish, 12” x 12”, Mosaic movement
Flowers, 16” x 16”, Mosaic movement
Claudio Souza Pinto
Welcome To The Theater Of Life “I transform situations of everyday life with a surreal filter and create fantastic and humorous images,” says the Romantic Surrealist painter Claudio Souza Pinto. Born in Sao Paulo, Brazil in 1954, Claudio at the age of four began working in clay under the guidance of his uncle, the painter Bernardo Cid de Souza Pinto. He sold his own art while studying for a degree in industrial design at Mackenzie University 72 • Fine Art Magazine
in Sao Paulo. In 1990 Alan Aouizerate, the French art collector, fell in love with Souza Pinto’s work and invited him to exhibit at Le Bains and The Opera in Paris. Souza Pinto lived in France for many years where he acquired solid formal training in oil painting and started his career in earnest. This contributed to a very strong European and particularly French influence in his work. For the artist, life is a great play. “All
of us have different behavior masks,” he says, “and they emerge depending on the occasion... in the theater of life!” Painter/poet/humor ist, the definition given to Claudio Souza Pinto’s style by the artistic and intellectual communities of Paris, accurately translates this Brazilian’s fine art paintings, which transform daily situations into surreal, romantic and funny images.
“Life is a great play. All of us have different behavior masks, and they emerge depending on the occasion...in the theater of life.” – Claudio Souza Pinto
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“Claudio’s paintings have a fantastic realism and a visual discussion about melancholy and love. Sadness or happiness is always present, even if in spirit”. – Jacques Bral, move director,
His works are the result of very elaborate preparation. The detail and the technical quality along with the execution and perspective are his hallmarks. The paintings are layered with glazings and meticulous details that reveal Claudio’s perfectionism. Claudio plays with our imagination and our feelings in a pleasing, delicate and elegant ways. His paintings are joyful with exuberant colors that are exquisitely balanced to create beautiful compositions. He is able to build a bridge between a fantasy world and reality, inviting us to disconnect from the world that surrounds us to unleash our own imagination. Claudio’s paintings create an atmosphere of joy and happiness in a very relaxing way. They have a calming effect and one never tires of looking at them. His work is not only his joy but ours as well. He is as much a himorist and poet as he is an artist and this combination serves him well. The defining characteristics in the style of Claudio Souza Pinto are thus an unusual amalgam but undoubtedly translate well in the universal language of art. At first, his paintings are seen as a fantasy world, but the artist explains they are deeper than that. “I paint the robes of the human being, because society only values the appearance. Only these camouflage feelings.” For him, the masks are more than fruits of creativity, “We all have different shades of behavior, which arise according to the occasion,” he says. His style is artistic, surreal, romantic, an humorous. The boldness of colors, fantastic realism, and evidence of emotion captures viewers from far away and leaves them entranced. Many respected architects and art collectors have delighted in Claudio’s works. The large scale of his paintings, along with the magic posed through both context and artistic quality is truly admirable. Surreal, romantic and funny images are at the core of his work, revealing his interest in love and human happiness. Painting is a silent poetry and some dreams will happen only if spoken in a work of art. As Keats so aptly put it, “Truth is beauty.”
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Mary Michel Mary Margaret O’Donnell Michel was born in Quincy, MA. As the eighth of nine children, one-on-one attention was not common. One day, her older sister, Kathleen Anne O’Donnell Dugan (who is an artist in her own right) took her on a special day. There were Swan Boats, The Boston Commons, popcorn and cotton candy. And then, in what would be a life-changing event, they went to The Boston Museum of Fine Arts. Mary will never forget that day. It will always be her favorite for the exposure to a world she had never seen and for a dearest sister’s love and attention. From that day forth her life was altered in many ways. She was exposed to a beauty she had not known. She was captured by the colors and the brushstrokes. She saw the balance and the counterbalance. When she walked through the hushed marble halls, she entered a world where one can stop and stare. Mary was mesmerized by the beauty that surrounded her and felt enveloped with a quiet peace. She saw the world through many eyes; the architects’, the sculptors’ and the painters’. Some were one, some were all. All were beautiful. All were combined. Mary entered the world of art at age 11. She has worked
with a variety of media and styles including oil, acrylic, watercolor, stone, metal, wood, fresco, trompe l’oeil, casting and ceramics. She has also extensively studied virtually all major art movements and has executed works in the variety of many artistic styles. Mary attended FIU and Stetson University as a Fine Art Major with a background in Art History. She also studied art in New York City, Italy and France. Upon completing her education, Mary returned to Miami where she continued creating artwork and supplemented her income by working as a freelance artist creating and installing exhibitions at various venues such as The Tides, The China Club, Club Nu, The Coconut Grove Playhouse and The Miami Museum of Fine Art. Struggling financially and upon the insistence of her father that she get “a real job,” Mary obtained employment at the Veteran’s Administration Hospital. It was there that she fell in love with medicine and after a five year engagement, she married her ex-husband, Dr. Jack Michel. She then left the VA to manage her husband’s clinic. As the business grew, they opened several more clinics and had the good fortune to acquire Larkin Community Hospital. Mary served as COO for seven years and left the hospital to pursue her home-life and to return to her true passion: art. Mary is the mother of five beautiful and God-sent children. As she began her new creations, she decided to introduce her collection entitled, “New York City Series.” She debuted these works for Art Basel, 2014 and was subsequently thrilled to be honored by her inclusion in Art Palm Beach, 2014; Spectrum, 2015 and ART Palm Beach, 2015 both as a gallery and participating artist.
New York City series
New York City series
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Moreau Moreau was in born February 13, 1950 in Canada. He came from a large family of six boys in which he had to work to be heard and to define himself. His father was a career psychologist who believed the art field was not a viable career and he should study a traditional education. His mother, however, ignited his love of art. She was a painter and ran a ceramic studio. Moreau was a shy and dreamy boy who couldn’t easily integrate into school and family systems. He, therefore, retreated into his artwork. His school books were full of sketches as he left his imagination transport him into a world defined by art. In adolescence, he was sneaking into visual art classes, giving little thoughts to his academic studies. Yet, he developed a deep friendship with his art teachers and they took a special interest in his growth and development as an artist. At the age of 17, Moreau was exposed to the “Terre des Hommes l’Exposition Internationale des Beaux-Arts de Montréal Canada.” He was dazzled at the site of great works. It was the moment Moreau received his epiphany that he would one day contribute to a great artistic movement. He was fortunate to be able to admire the prestigious works of great masters such as Georges de la Tour, Rembrandt, Velázquez, Vincent van Gogh, Modigliani, Edgard Degas, Munch, Chagall, Paul Gauguin, Cézanne, Kandinsky, Paul Émile Borduas and more ... in his own hometown. He was overjoyed to examine and scrutinize the works of these all-time great artists.
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Moreau absorbed himself in the art. He nourished his artistic spirit and growth becoming even more determined to continue painting and sculpting in order to share his vision and perspective with the world of visual art. Although Moreau always returns to painting, his also satisfies his immense need to create and express his vision though sculpture. He has worked extensively in clay. At one time, he operated a ceramic studio creating utilitarian ceramics and sculptures. Although life has thrown him many twists and turns, he never forgot the promise he made to himself when he was young. He learned how to recreate, to press through his creations, and to project his vision on the world. Moreau likes to retain only the elements that seem marking in sublime decor. In his landscapes, he makes a pictorial metamorphose from impression to abstraction. He admires the microscopic beauty and immensity of the universe. This nourishes his inspirations and feeds his dreams. Moreau has been fortunate to have a mentor, Charles Carson, the internationally renowned artist who has been a guide and motivator to Moreau and continues to inspire Moreau with his experience, artistic talent, drive and creativity. Moreau believes that the art lover must feel the energy contained in the paintings. This energy is captured and transposed by the artist in his artwork.
Les battures
He admires the microscopic beauty and immensity of the universe. This nourishes his inspirations and feeds his dreams. NuditĂŠ automnale
Ile de fish 79 • Fine Art Magazine
Cynthia Fleischmann
Charles Carson
Charles Carson
Garsot
Robert Swedroe
Michel Gallery, In Blossoming Midtown Miami, Exhibits Vibrant Collection of International Artists The Michel Art Gallery is proud to present national and internationally acclaimed artists to the South Florida Community. This unique collection consists of world renowned and distinct artists from a variety of origins. Each one bringing their own personal vision to life through their chosen modes of expression. Upon entering this Gallery, one will be transported by the pure beauty of the brilliant use of color in the works of Grand Master Charles Carson. The gallery also features extraordinary works by Claudio Souza Pinto, Robert Swedroe, Steven Zaluski, Cynthia Fleischmann, Mary Michel, Garsot and Piero Zangarini. Mary Michel debuted her “New York Series” for her own solo exhibition for the Art Basel 2014. Due to overwhelming interest by acclaimed and enthusiastic artists, she decided to expand her artistic venture by acting as a venue through which other artists are able to present their unique expertise and vision. The gallery is conveniently located between the Design District and Wynwood, in the heart of Midtown Miami. It creates a retreat into a world of beauty and elegance, the likes of which are not found elsewhere in Southern Florida. It has over 5,000 sq. ft. and is beautifully accented by the works of established artists. Please come to the gallery to view and appreciate such an incredible collection.
3300 North Miami Avenue, Miami, FL 33127 - (305) 335-1998 e-mail - info@michelartgallery.com (parking in rear) 80 • Fine Art Magazine
Michel Art Gallery (in historic Midtown Miami)
Presents Charles Carson, Grand Master Cynthia Fleischmann Garsot Mary Michel Moreau Paul Olivera Claudio Souza Pinto Steven Zaluski Piero Zangarini (Murano)
3300 North Miami Ave. - Midtown - Miami, FL 33127 - (305) 335-1998 e-mail: info@michelartgallery.com (parking in the rear) 81 • Fine Art Magazine