"Corporal concretism," is how the Moderna Museet's curator Ylva Hillström describes Erik Chambert's art. She writes: "To the eye, his images appear entirely abstract with their interplay of lines and surfaces, between light and shadow, hard and soft. But Chambert drew from life itself in his works. Throughout the process, he transformed his personal experiences and thoughts about life into pure form."

In the 1920s and 1930s, Erik Chambert created watercolour sketches of furniture placed in interiors. As studies for cabinet decorations, wall paintings, and wallpapers, he painted grasses and flowers. By the late 1930s, the gouaches evolved and began to incorporate figurative elements and organic non-figurative undulating forms. In the 1940s, Erik Chambert debuted at the Liljevalchs Art Gallery and participated in several of their exhibitions. In the 1950s, Chambert transitioned to painting abstractly, and Bo Sylvan noted that the paintings tended towards "geometrically cut forms and a careful palette."