"I first discovered Pontus Carle's large paintings, then his work in lithographs and ceramics. Pontus Carle is an accomplished artist who has developed a significant body of work over more than forty years. He uses different materials—paint, collaged paper, writing, and sculpted ceramic pieces—to write a life and its secrets, an imaginary story, a dream."
 Stephanie Peyrissac
 Pontus Carl was born in Sweden in 1955.
 In 1959 he moved to Paris with his family. At the age of 18, he decided to devote himself to art and began by learning engraving at the Henri Goetz Academy in Montparnasse. He then entered the École des Beaux-Arts in Paris, where he studied painting and lithography.
 He spent a year in Sweden to perfect his engraving and lithography technique in Malmö with Bertil Lindberg.
 After completing his studies, he traveled to Europe and Africa and began exhibiting his works.
 In 1980, he moved to Manhattan in New York and discovered the art world. He occupied several studios in Soho, Tribeca, and Chinatown.
 He lived in New York for almost ten years until 1989. New York had a very strong impact on him. His work was revolutionized. He painted a lot, which allowed him to be exhibited in several galleries in New York, such as Barbara Braathen and Léo Castelli, who exhibited him with the main representatives of painting at the time: Jean-Michel Basquiat, Warhol, Francesco Clemente, Keith Haring, Julian Schnabel,.
 In New York he also exhibited at the Now Gallery and then in other cities in the United States.
 In 1989, he returned to Europe and settled in Paris. During the 1990s, Pontus Carle exhibited extensively, particularly in Sweden, Germany, and France.
 He has had more than fifty exhibitions.
 Alongside painting, he works with ceramics and creates bas-reliefs and sculptures, sometimes for public commissions, such as the one created for a Berlin metro station in the 2000s. In 2015, he created a huge bas-relief for a sports center in Sweden.
 Pontus Carle is represented in numerous official and private collections worldwide.
 "His painting is populated by figurative elements dissociated from any attempt at narration or representation of reality, but elements which as a whole give the viewer a familiar tone, an impression of proximity and tactility. "In the unusual theater, equidistant from the nursery rhyme and the fable, subterranean stories emerge, dislocated dreams, barely emerged from the matrix of the after-consciousness, adjusted by snippet, by translation, in volutes and will-o'-the-wisps, in dodges and enigmatic melees, populated by strange levitating objects, calligraphic turbulences, sharp arrows and dotted lines, around which visions in perpetual metamorphoses are formed and shaken."
 Gérard Xuriguera, Paris 1989