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... [He] 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, Fine Arts and Antiquities expert, President of Drouot Cotation, Paris, France
...we are very fortunate, for to have the chance to meet an artist during his lifetime, knowing that his art is destined to contribute to our evolution and humanity, is extremely gratifying. Charles Carson is a great creator. His paintings are inimitable, personal, spontaneous. I know of no other body of work that ressembles it
— Beatrice Szpertyski, Founder and Director of Laboratoire LAE, expert adviser to the French government in its campaign to prevent the traffic of cultural property
Charles Carson is without a shadow of a doubt one of the world’s great artists.
— Caroline Bruens, Expert advisor in art, Founder of the Académie International des Beaux-Arts du Québec
Banque Lauentienne and its directors are proud to include a significant work of Quebec artist Charles Carson in its art collection... ‘La Croisee des chemins, Laurentide QC’ is a major work worthy of its place among the Riopelle’s, Cosgrove’s, Little’s, Rousseau’s and other Canadian and Quebecois artists in the bank’s collection.
— Banque Laurentienne du Canada
“Carson gives his paintings a depth that makes the best demonstrations of perspective pale in comparison...”
— Guy Robert (1933-2000), Art historian, Founder of the Musée d'art contemporain de Montréal
He paints in movement with a technique and energy appropriated from masterful predecessors. Some would cite Mondrian, Jackson Pollock, van Gogh
— Victor Bennett Forbes, Fine Art Magazine (USA), Spring 2009
Because the colors are incredibly clean, there’s a tempo. You can’t just paint and you can’t extrapolate unless you know form; you have to know form, you have to be able to paint in order to extrapolate. Carson applies the paint with a tempo and a sense of color as if the light were coming through. The pieces are very energetic, almost kinetic and there’s a definite form lent through the application of the color. I don’t know what Mr. Carson has in his mentality as he paints, but it looks to me as if he’s painting the subconscious vision of what he sees; that he steps into the space between space, the dream space — and starts to paint the colors as they vibrate, as one form transitions from dream to reality and reality to dream and the abstract in - between. The colors are incredibly clean, which is rare — and they are built, have definition and are textural. You would think that it’s simple, but it is not. This is a very complex and difficult mode of expression to arrive at and you have to have an understanding of harmony and tempo to have a significant balance throughout the piece in order to create the composition. The result is the school of thought Carson is forming — Carsonism, Carson to the ism.’’ There are elements to this work that I have not seen elsewhere. I have not seen this technique done elsewhere . Have you? ...

Isn’t this the founding of a thought process or a school? Did anybody do Braque or Leger, or Pollock before they did themselves?
— Jamie Ellin Forbes / Fine Art magazine - New York