Hello, my name is Michel Arsino and I'm the owner of the Inglewood Fine Arts Gallery in Calgary. I have a passion for art that originated the day I bought my first Carson nearly 25 years ago. The passion I have for Carson's work has never diminished. Over the years I've added to my collection of Carson paintings and I've closely followed his meteoric rise on international stage. I've become an impassioned fan of his work and it was therefore without a moment's hesitation that I accepted the offer to become his agent for Western Canada. There is something in a Carson painting that moves me in a way no other living artist is able to do. The divacity injects the position of the colors, the depth of the forms and figures that reveal their secrets little by little, even after many years and countless depletions. How can I best describe this mysterious and unique aspect of Carsonism? I would not be so presumptuous as to attempt an analysis of Carson's unique pictorial writing that sets him apart from others. Instead, I will attempt to describe how the artist's work touches me on an emotional level that never decreases in intensity. Since having moved to Calgary, I live in hope of one day entering a gallery and finding the painting that makes me feel the way I feel when I revel in a beautiful setting of the Rockies. There are a handful of gifted artists who have succeeded in capturing the beauty of these mountains, but none have made me feel the immensity of their power. The way I do when I contemplate an underwater scene when an autumn setting is depicted by Carson's brush. Carson as master-desart, quite simply because he has managed as few contemporary artists before him to capture and portray his vision of beauty with a rare sensitivity. His ability to be moved by simple things, often unnoticeable to others, has shaped Charles Carson to view life with such acuity and intensity that our vision of the world is embellished as a consequence. The art of the art is a very important part of the art of the art. The art of the art is a very important part of the art of the art. The art of the art is a very important part of the art of the art of the art. The art of the art is a very important part of the art of the art of the art. Well Victor, I know that you did also the interview in your magazine about Carson. You met the man, talked to me about him, talked to me about the artist as well. Charles is a tough man. He is dedicated to his craft. Nothing will deter him from his mission in life. A lot of people have skills, a lot of people have talents, a lot of people have gifts, but the trick in this life, the mission in our life is to use these skills and these talents and these gifts to the best of our abilities. And if you are blessed with that and selling art, then really hit it. Good. You know, to look at a painting like this, if you don't mind, I'd like to spend two seconds on this particular painting. Of course. This particular style is fascinating and it's historic because he's channeling Jackson Pollock in San Francisco. But with his own version of it, which as an art historian, someone really loves the continuation of the culture, which is what I love. That's what I love about professionally. I love to be able to continue the culture down from a generation to the next generation. So young people can look at this and they can say, oh wow, this guy, he's seen Jackson Pollock, he's seen San Francis, but he's done things to these paintings that those geniuses didn't think of doing. So that's why Charles is making his mark and has made his mark. He can hold his own with a lot of these greats and he's young. It's interesting. He's got a lot going. He's in a good position to make a big artistic statement. He's already made a big artistic statement, but he's in a good position for something very big to have. I was interested in art since I was very young because at the very young age I realized that artists are very sensitive people. And usually they tell us readily how the world is behaving and what will happen long before it happens. They need help, they need support, and we have to do it while they're alive. That's about the best thing we can do for artists. It's been there for them to make sure that they can keep creating and communicating to us things that we wouldn't otherwise see or understand. I think that what art brings in your life is the richness of life itself. And if you're creative yourself and you can appreciate what others are trying to communicate to you, well it only makes your life a lot more interesting. How do you define a great painter? I mean it's a very, very complicated subject. I'm motivated more by what the artists I know, the artists that are producing, the artists that are alive, that they can touch, that they can feel, that they can collect, you know, that they can really appreciate and know that somehow I'm making it possible for him to do what he loves to do. I had the pleasure of meeting Charles Carson at one of my friends, Bistro, at the Bistroa Champlain, which is in St. Samarit, and everybody knows how this doctor discovered a great passion for wines and also a great passion for art. And I would say that that's what brought us together. I mean Mr. Champlain happens to be also a friend I believe, and that's how I met Charles. And not only I found his work exceptionally interesting, but again I met him personally and I found the person as interesting as his art. It was one of the few artists that I could communicate, you know, for instance, some analogy of what was going on in the world of large and in business and in this and that. So he's definitely a very attaching person and I could probably say today that he has become a friend. My name is Louis Brevens. I'm an art market consultant, lecturer and author of 15 artworks, 50 years in the profession. I'm also president of the International Academy of Fine Arts of Quebec. I have a little story to tell you. One day, over 20 years ago, I was visited by Charles Carson, who came to present a separate painting. It was great and different than any I had ever seen in my career. In fact, I was really surprised and I told him, dearly, that's it. You're ready for the art market. You can now show career. I authored an exhaustive analysis of his pictorial work in 1990. From that moment on, he was with extreme gratification that I witnessed a significant collection of the artist work. Since that time, the artist I followed the stupid fine career path in North America, South America or in Europe, everywhere he passes, specialist art historians, experts and Gary Angus are anonymous in their place. This kind of painting, or should I say, the school of painting, the style, this workmanship, this modest operandi has become a real school. As of 1990, Guy Robert, founder of the Montreal Museum of Contemporary Art, writer Rousseau, art historian, authors well of myself, have firmly believed that we were in the presence of an exceptionally talented artist. Today, Charles Carson is honoured internationally for his creativity. Moreover, he has distinguished himself on the international stage over the years, gathering numerous titles and prestigious prizes. He now carries with pride the title of Master of Finance, Quebec as many artists. I've said it, repeatedly, but there are certain ones that stand out that go further, the transcend Charles Carson is part of this select group. Cassonism will continue to flourish through how the world egos further. There is a reason for this and the reason is the quality of this art.