Creators

Interview with Karim Charlebois

Text -

Marie Charles Pelletier

Photos - Karim Charlebois

Discussion about his art and nature

Karim Charlebois is a multidisciplinary artist based in Montreal, currently focusing on wood sculpture. His approach is a response to a hyper-digitalized world, where the overdose of images, stimuli, leads to an overwhelming sense of vertigo.. The manual labor that defines his artistic practice helps him reconnect with a certain simplicity, embracing the inherent slowness of handcrafting. Each knife mark on his pieces highlights human error and the beauty in imperfections, reflecting an authentic approach to the material and its demands.

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BESIDE: What was your youth like?
KARIM: I was born in Quebec City, but I grew up in LaPrairie, on Montreal’s South Shore. I was always immersed in art. As a child, I took drawing and painting classes. I discovered graffiti in my teens, which then led me to study graphic design at Cégep du Vieux Montréal and UQAM.

BESIDE: What was the pivotal moment in your artistic awakening?
KARIM: In 2009, I worked with Stefan Sagmeister (a prominent figure in graphic design) in Bali during his sabbatical year, when he focused on art and happiness. I helped him create various sculptures, and that’s when I caught the visual arts bug. For six years, I returned to Bali annually. It was there, alongside local artisans, that I truly started making art. It was also in Bali that I met the two other interns of Stefan, with whom I would eventually co-found the art collective Field Experiments.

BESIDE: What do your works evoke?
KARIM: They evoke simplicity and a certain nostalgia for a simpler time. As if dating back to the 70’s or a pre-digital world, they represent a return to the essential, devoid of all artifice with a that makes them soothing simplicity. They are also suggestive and open to interpretation. Some see flowers, phallic shapes, silhouettes, etc.

BESIDE: What inspires you?
KARIM: Nature is my main source of inspiration, especially flowers, plants, and corals. I also draw inspiration from the works of contemporary naïve 2D painters, reinterpreting their forms in my own way, in 3D. I consume art daily through art galleries, trips around the world (or the neighborhood) , and my Instagram feed ;)

BESIDE: Of all the pieces you’ve created, which is your favorite?
KARIM:Fleur 01: because it’s the first one I was truly proud of, and through it, I gained confidence in my art. I had to create more than twenty sculptures before achieving a form that conveyed what I was trying to express.

BESIDE: Why wood?
KARIM: Wood is a direct connection to nature through its texture, smell, and grain. Over the years, with my collective Field Experiments, I’ve explored various materials of different complexities. Sculpting wood is a simple, organic process that I find the most satisfying. I carve almost anywhere: at home, at the office, at the cabin, but preferably outside in the sun and with minimal tools. I only use wood knives and a hammer—and a jigsaw to start the piece.

BESIDE: Through your work, you value the pursuit of beauty in imperfection and human error. Why is that important?
KARIM: For some reason, we tend to want to project perfection and hide flaws. To me, that feels a bit hypocritical, especially when we know full well that not only are we filled with flaws, but they are what make us human. A perfect face is uninteresting to me; a crooked nose or tooth gives personality and tells a story. My imperfect and unfinished (unsanded) shapes highlight those imperfections. You can feel the handcraft in them, unlike smooth shapes that could just as easily be made by a 5-axis CNC machine. The tactile nature and the fact that everyone can understand how the piece was made make it interesting, and even comforting.

BESIDE: What is the impact of technology on art, in your opinion?
KARIM: Technology has had a significant impact on art. The advent of new techniques and technological tools has definitely contributed to contemporary art. The possibilities have become limitless. But this lack of limits gives me a sense of vertigo, which ultimately pushed me toward a simpler, more minimalist approach.

BESIDE: What is your creative process like?
KARIM: I do a lot of sketches, drawing inspiration from nature. I take photos of various natural elements and reinterpret them in drawings. I then roughly trace the shape onto the wood before cutting it out in 2D with a jigsaw. I rough out the shape with a large chisel and hammer to make the form emerge. I intentionally make mistakes, avoid symmetry, and follow the wood grain. Then I finish the piece with a smaller chisel, rounding the curves and giving the piece its final texture by highlighting the knife strokes. Lastly, I photograph them on a white background, print the photos, and then photograph the print for an analog 70’s look.

BESIDE: What is your relationship with nature?
KARIM: Nature is a part of me, and spending time near it is essential. I have a cabin-studio in Potton, in the Eastern Townships, where I create most of my sculptures. Nature puts me in a meditative and contemplative state, where I lose track of time. I’m fascinated by the beauty of nature—the trees, plants, flowers, animals, insects, mountains, the sky, and the stars. For me, it’s the most beautiful artwork in the world.

BESIDE: Tell us about your connection to the BESIDE project and your alignment with its vision.
KARIM: I own a BESIDE cabin and sometimes go there to sculpt. The nature and architecture of the place inspire me greatly. There, I can sculpt indoors while feeling like I’m outdoors, thanks to the large glass walls that immerse us completely in nature.

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