A painter of nature and large formats, a tireless draftsman, Charles Belle is an artist who fascinates as much as he intrigues. Having exhibited his work all over the world, including an acclaimed collaboration with double Michelin-starred chef Steven Naessens, the artist is currently starring in the film Par-delà les silences. LUXUS MAGAZINE met him for the occasion. Interview.
Charles Belle takes these crossroads, which link all art forms together, with joy and generosity, nurturing exciting adventures with filmmakers, poets, writers, chefs, musicians, composers and circus artists. The process that led to the realization of Par-delà les silences is unique, inordinate, bordering on the unthinkable… Filmmaker François Royet spent 16 years filming Charles Belle’s every gesture, every glance, every breath, in his studio and during his creations in the forest. Together, they explore the mysterious territories of art.
And all this without any didacticism – there are hardly any words in this highly accessible feature, even if you’re not an art lover. This film opens the door to inner journeys, to our deepest humanity. It’s an experience to be lived, an organic, sensory exploration far removed from the chaos of the world.
Par-delà les silences was selected by the Musée du Louvre for an exclusive preview. It has now been released in cinemas to unexpected public acclaim.
In Paris, the Cinéma Saint-André des Arts (6th arrondissement) has been showing the film for the past 11 weeks to ever-growing audiences.
LUXUS MAGAZINE: For over 16 years, you’ve been filmed in the privacy of your studio. What was it like to have your creative process documented over such a long period?
Charles Belle: Neither the filmmaker nor I had a program. I painted, he filmed. We were, each in our own art, in the pleasure of acting. That’s how it was with François Royet. There wasn’t even a film project at the outset. It was a total, unique adventure, and we shared the same thoughts.
LM: Can you tell us about your collaboration with François Royet? How has it developed over the years?
Charles Belle : The question that unites François Royet and me is that of the origin of the desire to create. We often meet around the beauty of the banal, the poetry of almost nothing, the splendor of light and the spirit of things. It’s a natural collaboration that has developed over the course of seasons and projects. François Royet would still be filming at the studio today if I hadn’t put an end to this 16-year sequence. He has hundreds of hours of rushes and is still missing images, images, images.
LM: Did the presence of François Royet and his camera influence the way you worked? Did knowing that your gestures were going to be filmed change your approach to certain works, or on the contrary, did François Royet ensure that his impact was as neutral as possible?
Charles Belle: Of course, there were a few constraints, because filmmaking, even with a one-man crew (!), involves a lot of material management. But I don’t think his presence had any influence on what I did as a painter. He was as discreet as possible, never interfering in the flow of things, never commenting on anything. He tried to capture the moment. If he missed something, he never asked me to “redo” it. So, pretty soon, we each found our own territory.
LM: Your work is part of a quest for abstraction and the unspeakable. How would you describe what drives you to create, to go beyond the simple representation of the subject?
Charles Belle: The territories of painting and poetry sometimes cross, and that’s fortunate. I have no intention when I work, and in painting, “the subject is not the subject”. The essence of poetry is abstract, and so is that of painting. Poetry isn’t about words or punctuation; it’s between words. Painting isn’t the color or the brush; it appears to us, we perceive it. And I keep on working until I feel a particular disturbance, emotions, feelings, and that has nothing to do with fidelity to appearances, nor with concrete reality.
LM: You’ve confided that some of your works, such as those created in the wilderness, were intended to remain hidden from the public eye. How do you explain this intimate relationship with nature in your work?
Charles Belle: Simple contemplation is a particular disposition that nourishes me, and I’m very fond of it. Some people will thank God or other inventions, but I’m satisfied with my presence in the world and enjoy it. The drawings you refer to, “entrusted to the forest”, stayed in the forest for almost 2 years. At the time, I was sure that this was my final work, and I intended it for the forest, because I no longer wanted to be part of the human race. Then came the turbulence…
LM: This film, called “Par-delà les silences” (Beyond Silences), mixes documentary and fiction, without commentary or explanation. Do you think this silent approach helps us better understand the essence of art and creation?
Charles Belle: There’s no fiction in this film, everything is real. The storm is a real storm, the snow and the feelings are real. But it’s not a documentary either. It’s a film! The absence of speech is deliberate. It’s a silent film, but far from silent. François Royet did an immense amount of work with music and sound during the editing process. He trusts the images to tell the story of feelings, doubts and wanderings, enabling us to feel both the strength and fragility of the impulse that precedes creation and art.
LM: How do you think this film could appeal to a wide audience, even beyond art lovers? What do you hope viewers will take away from it?
Charles Belle: Art lovers? Who are they? The visitors to my exhibitions are of all kinds. The film also seems to appeal to a diverse audience, and I’m pleased about that. The testimonials I receive are often very complimentary, and the emotion people express is palpable. Many tell us about the deep turmoil they experienced with this film. Sometimes people who have nothing to do with art come out crying. Children start wanting to experiment with drawing in the forest… The truth and sincerity of expression characterize François Royet’s work, and it will probably be imprinted in everyone’s memory.
LM: With such a rich career, exhibited at major contemporary art fairs and cultural institutions, how do you see your art evolving over time?
Charles Belle: Ah… I don’t see any possible evolution.
LM: In 2022 and 2023, a major retrospective was dedicated to you in France. How did it feel to see your work move through time and places?
Charles Belle: There were just over 150 works exhibited, and it was the first event of this scale to focus on my work in public institutions in France. These exhibitions put the multiple aspects of my work into perspective, giving us a more complete picture. I was able to realize the density and depth of what I’d accomplished up to that point. Art is serious!
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Featured Photo: © Charles Belle
