PAINTINGS

Autorretrato con sombrero (Self-Portrait in a Hat, 2026)
oil on canvas · 80 x 90 cm

INFINILOGY (2026)

After years away from easel painting and a long retreat, he returns to painting in its purest and most traditional technique, oil on canvas, in order to achieve a fresh and contemporary language that confuses everything even more.

Paisaje sensato (Reasonable Landscape, 2024) – oil on canvas – 24 x 18 cm

La solución para todos tus problemas (The Solution to All Your Problems, 2026) – oil on canvas – 14 x 20 cm

(Detail of) The Solution to All Your Problems (2026)

La máquina del tiempo (The Time Machine, 2026) – oil on canvas – 18 x 27 cm

(Detail of) The Time Machine (2026)

HUMAN PAINTING (2021)

Understanding painting not as a collection of representations but as presentations, and not only as a means of expression but as an instrument for thought, he returns to painting as an affirmation of one’s own nature. Being human, far from being a condition, is the freedom to delve into one’s own unknown as well as that of others, to navigate the depths of one’s own (human) being without being swayed by trends. The result is works that cannot be defined as abstraction or figuration, real or imaginary, formal or informal, traditional or experimental, but essentially by the instance in which everything naturally becomes indivisible and affirmatively human.

Reality Is Richer Than Any Interpretation (2021)
oil, inks, color pencil, oil pastel and collage on canvas – 101 x 101 cm

In a manifesto dated Singapore in 2013, Charif had already written, “I know my position is absurd. I am not an admirer of Ionesco, but I am reminded now of his play Rhinoceros. Day after day, everyone is turning into a rhinoceros; but Bérenger does not succumb to this massive metamorphosis. Bérenger ends up completely alone, but he finds it impossible to renounce his human nature. It doesn’t matter if the tendency is to become a rhinoceros; he knows that his human nature lies in being human until the very end. Sometimes I feel like a kind of Bérenger. Even in the final act, I cannot accept rhinoceritis.” (The Treachery of the Artists). He had previously expressed something similar in his writer’s journal in 2010 (gustavocharif.tumblr.com/política).

We’ll Never Know (2021) – oil, inks and papers on canvas – 60 x 40 cm – Private Collection

(Detail of) We’ll Never Know (2021)

Portrait of You Looking at This Painting (2021) – oil, colored pencil, ink and collage on canvas – 18 x 13 cm

(Detail of) Portrait of You Looking at This Painting (2021)

Crying Old Man (2021) – oil, papers and ink on canvas – 30 x 30 cm

(Detail of) Crying Old Man (2021)

Elderly Man with Privileges (2021) – oil, papers and ink on canvas – 30 x 30 cm

(Detail of) Elderly Man with Privileges (2021)

The people DON’T want to know what is going on! (2022) – oil, collage, pencil and inks on canvas – 80 x 120 cm

(Detail of) The people DON’T want to know… (2022)

THE ASIAN YEARS (2009-2019)

Living in the Southeast Asia, his works turn less baroque and more precise although not simple. His exhibitions in Kuala Lumpur, Tokyo, Taipei and a few in art fairs of Europe and New York, shows a mature style in painting while his conceptual works, experimental videos and writs are multiplied.

La Matanza (2015) – acrylic painting, inks, colored pencils, collage and oil pastel on canvas – 30 x 40 cm

(Detail of) La Matanza (2015)

Qatar Dream (2013) – mixed media on canvas – 122 x 183 cm

(Detail of) Qatar Dream (2013)

White Noise (2013) – acrylic painting, inks, pencils, collage, oil pastel and assemblage on canvas – 76,5 x 91,5 cm

Wanted (2013) – acrylic painting, inks, pencils, collage, oil pastel, oil and assemblage on canvas – 76,5 x 122 cm

(Detail of) Wanted (2013)

Narco Tintin (2013) – acrylic painting, inks, pencil, collage and oil pastel on canvas – 76,5 x 122 cm

(Detail of) Narco Tintin (2013)

More Than Just Crunch (2013) – oil, acrylic painting, inks, collage, oil pastel and assemblage on canvas – 76,5 x 122 cm

(Detail of) More Than Just Crunch (2013)

Mind your Mind (2013) – acrylic painting, inks, collage and oil pastel on canvas – 76,5 x 122 cm

(Detail of) Mind your Mind (2013)

People need to understand / Lessons From The Fall (2013) – oil and collage on canvas – 100 x 200 cm – NOTE: You can see this painting in normal way with the title “People need to understand”, but if you put the same painting upside down, you can see a different painting with a different title: “Lessons From The Fall”

(Detail of) People need to understand / Lessons From The Fall (2013)

Heaven in Hell (2013) – acrylic painting, inks, pencils, collage and oil pastel on canvas – 61 x 45,5 cm

(Detail of) Heaven in Hell (2013)

Nightmare of a Beast (2013) – acrylic painting, inks, pencils, collage and oil pastel on canvas – 45,5 x 61 cm

(Detail of) Nightmare of a Beast (2013)

Cannibal Holocaust (2013) – acrylic painting, inks, pencil, collage and oil pastel on canvas – 76,5 x 91,5 cm

(Detail of) Cannibal Holocaust (2013)

Life of an Eye ( 2013) – acrylic painting, inks and oil pastel on canvas. – 76,5 x 61,5 cm – Linguini Lee collection

(Detail of) Life of an Eye ( 2013)

(Detail.) “Life of an Eye” ( 2013).

(Detail of) Life of an Eye ( 2013)

Into the Unknown (2012/2013) oil and collage on canvas – 76,5 x 101,5 cm

(Detail of) Into the Unknown (2012/2013)

Golden Trash (2012) – oil, inks and collage on canvas – 61 x 45,5 cm

(Detail of) Golden Trash (2012)

Silence, please (2012) – acrylic painting, oil, oil pastel and collage on canvas – 45,5 x 91,5 cm

(Detail of) Silence, please (2012)

The Wall Behind This Painting (2012) – acrylic painting, inks, oil pastel and collage on canvas – 45,5 x 61,5 cm – Tan-Yeoh collection

The Future Woman (2012) – oil, inks acrylic and collage on canvas – 76,5 x 61,5 cm

(Detail of) The Future Woman (2012)

Rotten Mondrian (2012) – acrylic painting, inks, oil pastel and collage on canvas – 61,5 x 76,5 cm

(Detail of) Rotten Mondrian (2012)

Family of Man (2012) – oil, inks and collage on canvas – 25,5 x 51 cm

(Detail of) Family of Man (2012)

Land Escape (2012) – oil, inks and collage on canvas – 25,5 x 51 cm

(Detail of) Land Escape (2012)

La bruta de leche (The Brute of Milk, December 28, 2015) – acrylic painting, inks, colored pencils, collage and oil pastel on canvas – 28 x 35 cm

(Detail of) La bruta de leche (The Brute of Milk, December 28, 2015)

ALEXANDRIA (2004)

Invited by the Centro Cultural Borges, Charif presents the gigantic solo exhibition Alejandría (Alexandria), in the same showroom where, until that time, were the solo exhibition of Salvador Dalí. Alexandria showns for the first time the artist’s book with texts of Fernando Arrabal and Milan Kundera, and also the Libro Alejandrino (Alexandrine Book), a box with fourteen digital photomontages. But the main part of the exhibition was occupied by twenty-nine paintings on canvas, mostly of big size, and two tryptichs of four meters. The main feature of the series were blend harmoniously the diverse and even opposite techniques and styles that Charif explored through years.

La mujer que levitaba en cada orgasmo (The woman that levitated with each orgasm, 2004) – oil and paper on canvas – 20 x 40 cm

(Detail of) The woman that levitated with each orgasm (2004)

Vida en un mundo maravilloso (Life in a Wonderful World, 2003) – oil, assemblage and collage on canvas – 80 x 140 cm

Manera de escalar el Fitz Roy (Way to climb Fitz Roy, 2003) – oil pastel, inks and collage on canvas – 70 x 140 cm

La poca voluntad (The Weak Will, 2003/2004) – oil, oil pastel, collage, inks and assemblage on canvas – 80 x 140 cm

Resurrección de la carne (Resurrection of the Flesh, 2004) – oil and collage on canvas – 80 x 140 cm

(Detail of) Resurrection of the Flesh (2004)

Retrato de un hombre / Portrait of a Woman (2004) – oil and collage on canvas – 41.5 x 41.5 cm

Retrato de un hombre / Portrait of a Man (2004) – oil and collage on canvas – 41.5 x 41.5 cm

Beato Hamlet / Beatus Hamlet (2004) – oil and collage on canvas – 40 x 40 cm

Pausa en un idilio / Pause in an idyll (2004) – oil and collage on canvas – 20 x 40 cm

Imán hacia el naufragio -Noches 14 y 15- (Magnet towards the shipwreck -Nights 14 and 15-, 2004) – oil, assemblage and collage on canvas – 140 cm. each side (rhombus)

(Detail of) Magnet towards the shipwreck (2004)

Manera de remar un naufragio -Noche 467, entre otras- (Manner of rowing the shipwreck -Nights 467 among others-, 2004) – oil and collage on canvas – 140 cm. each side (rhombus)

(Detail of) Manner of rowing the shipwreck (2004)

La luz de una lámpara china -Noches de Aladino, que en algunas ediciones se encuentran entre las noches 536 y 537- (The Light of a Chinese Lamp -Aladino’s nights, that in some versions appears between the night 536 and the night 537-, 2004) – oil, collage and digital image on canvas – 140 x 200 cm

(Detail of) The Light of a Chinese Lamp (2004)

El hombre, que pudo ser sabio, convertido en simio para ser sabio -Noche 13- (The man, who could be wise, became an ape for be wise. -Night 13.-, 2004) – oil and collage on canvas – 140 x 200 cm

(Detail of) The man, who could be wise, became an ape for be wise. (2004)

La mujer Tawaddud -Noches 437 a 462- (The Tawaddud Woman -Nights 437 to 462-, 2004) – oil and collage on canvas – 160 x 160 cm

(Detail of) The Tawaddud Woman -Nights 437 to 462- (2004)

Un mundo para el ave ruj -Noche 544- (A world for the roc bird -Night 544-, 2004) – oil and assemblage on canvas – 200 x 140 cm

(Detail of) A world for the roc bird (2004)

Los días contiguos a las mil y una noches (The contiguous days to the One Thousand and One Nights, 2004) – oil and collage on canvas – 142 x 406 cm

(Detail of) The contiguous days to the One Thousand and One Nights (2004)

THE POLITICAL WORKS (2003-2009)

Ellos, con uno de nosotros (Them, With One of Us – 2003)
oil on canvas – 162 x 262 cm

Charif returned to Argentina after living in France and quickly identified a new form of homegrown fascism (something predictable given the political establishment). Soon, in solitude, he began a series of politically critical works. He had previously expressed a similar attitude through satirical pieces, especially collages, on the “national situation,” but this time he presented a comprehensive exhibition of political themes in a series of large oil paintings on canvas. The exhibition, heald at the Sívori Museum (Buenos Aires, 2003) was extensively covered by the major Argentine newspapers and media, although, on the other hand, from this point onward Charif would become something of a cultural pariah in the country. Despite this, his last public appearance in the Argentine art scene was the premiere of his feature film The Reason (2010), set in the 1940s.

Them, with one of us (2003) – oil on canvas – 162 x 262 cm

(Detail of) Them, With One of Us (2003)

To the Hostile Nature (2003) – oil, fire, canvas, collage and assemblage on canvas – 140 x 80 cm – Stradella-Bianchi collection

(Detail of) To the Hostile Nature (2003)

Victorio Lenz, War Wounded (2003-2009) – oil on canvas – 200 x 70 cm

(Detail of) Victorio Lenz, War Wounded (2003-2009)

Children Factory (2008) – oil on canvas – 140 x 160 cm

Charif in his studio with Children Factory (work in progress) behind

PARIS – BUENOS AIRES YEARS (1999-2003)

The following is a small selection, due the number of works during those years, specially in France, range from the big landscapes and interiors full of expressionist characters in a kind of informalism ultra-baroque to -as Charif defines it- a “rotten Neoplasticism”.

Earth Flies, but My Kingdom Is of This World (1998) – oil and mixed media on canvas – 150 x 200 cm

(Detail of) Earth Flies, but My Kingdom Is of This World (1998)

«…when the moon is the only restless thing and lovers hold each other in bed as if nursing their sorrows» (Dylan Thomas) (To Muriel Silaire, 1998) – oil and assemblage on canvas – 40 x 30 cm

(Detail of) «…when the moon is the only restless…»

The Myth of the Freedom (1998) – oil and mixed media on canvas 120 x 170 cm

(Detail of) The Myth of the Freedom (1998)

Flies in Milk (1998) – oil and mixed media on canvas – 150 x 200 cm

(Detail of) Flies in Milk” (1998)

But I’ve known these hallucinations, and since a long time they no longer scares me (1998) – oil and mixed media on canvas – 120 x 170 cm

(Detail of) But I’ve known these hallucinations, and since a long time they no longer scares me (1998)

The labour of resting on Sunday (1998) – oil and mixed media on canvas – 120 x 170 cm

(Detail of) The labour of resting on Sunday (1998)

(Detail of) The labour of resting on Sunday (1998).

(Detail of) The labour of resting on Sunday (1998)

Digestion of the Gold (1998) – oil and mixed media on canvas – 120 x 170 cm

(Detail of) Digestion of the Gold (1998)

Polyptych without God (1998) -oil and mixed media on canvas – 180 x 180 cm

(Detail) Polyptych without God (1998)

(Detail.) “Políptico sin Dios” (“Polyptych without God”, 1998).

(Detail) Polyptych without God (1998)

The World as it Goes (1998/1999) – oil and mixed media on canvas – 135 x 190 cm (triptych) – NOTE: Title inspired by Voltaire’s title “Le Monde comme il va”

(Detail of) The World as it Goes (1998/1999)

To enclose the pain in a painting (1998/1999) – oil and mixed media on canvas – 140 x 140 cm (triptych)

(Detail of) To enclose the pain in a painting (1998/1999)

We sink towards the new (1998/1999) – oil and mixed media on canvas – 90 x 160 cm (polyptych in four panels)

(Detail of) We sink towards the new (1998/1999)

The children of today grow up into hammered barrels (1999) – oil and oil pastel on canvas – 100 x 200 cm

(Detail of) The children of today grow up into hammered barrels (1999)

The Invisible Friends (1999) – oil, oil pastel, pencil, ink, fire and paper on canvas – 100 x 200 cm

(Detail of) The Invisible Friends (1999)

Concrete Landscape of the Conceptual Romanticism (1999) – oil, oil pastel and assemblage on canvas – 170 x 170 cm

(Detail of) Concrete Landscape of the Conceptual Romanticism (1999)

Earthly Visions (1999) – oil, assemblage and mixed media on canvas – 90 x 160 cm (polyptych in four panels)

Triptych for the martyrdom of St. Prudish Punk (1999) – oil, assemblage and mixed media on canvas – 130 cm. x 230 cm

Aside of the way (1999) – oil, oil pastel, inks and old frame on canvas – 140 x 140 cm

(Detail of) Aside of the way (1999)

In memoriam (1999) – oil, oil pastel, inks, collage and assemblage on canvas – 100 x 200 cm

(Detail of) In memoriam (1999)

The Siamese Grandmothers Separated (1999) – oil, oil pastel, collage and assemblage on canvas – 140 x 140 cm (polyptych)

(Detail of) The Siamese Grandmothers Separated (1999)

Study for a homage (1999) – oil, pencil, fire and old pastel on paper and canvas – 100 x 200 cm

(Detail of) Study for a homage (1999)

“Los humanos y las nubes” (“The Humans and the Clouds”, 1999). 150 x 200 cm. Oil and old pastel on canvas.

(Detail.) “Los humanos y las nubes” (“The Humans and the Clouds”, 1999).

“1979. La diversión finaliza al volver al hogar. (Pintura para adolescentes.)” (“1979: fun ends at the back home. (Painting for teenagers.)”, 1999). 100 x 200 cm. Oil and assemblage on canvas.

(Detail.) “1979. La diversión finaliza al volver al hogar. (Pintura para adolescentes.)” (“1979: fun ends at the back home. (Painting for teenagers.)”, 1999).

Detail from a War (1999) – oil on canvas – 170 x 170 cm

(Detail of) Detail from a War (1999)

Painting from Bali (1999) – oil and assamblage on canvas – 120 x 170 cm

(Detail of) Painting from Bali (1999)

Second study for Vanina Hardcore Victory (1999/2000) – oil and mixed media on canvas – 140 cm. each side (rhombus)

(Detail of) Second study for Vanina Hardcore Victory (1999/2000)

My real parents (2000) – oil and oil pastel on canvas – 200 x 100 cm

(Detail of) My real parents (2000)

Apparitional experience of Mickey Mouse and his disintegrated family on a moist Wall (2000) – oil, oil pastel, collage and assemblage on canvas – 120 x 170 cm

(Detail of) Apparitional experience of Mickey Mouse and his disintegrated family on a moist Wall (2000)

(Detail.) “Aparición de Mickey Mouse y su familia desintegrada sobre una pared húmeda” (“Apparitional experience of Mickey Mouse and his disintegrated family on a moist Wall”, 2000).

(Detail of) Apparitional experience of Mickey Mouse and his disintegrated family on a moist Wall (2000)

The man, sublime ape (2000) – oil, oil pastel and used long sleeve shirt on canvas – 100 x 200 cm

(Detail of) The man, sublime ape (2000)

Fable (2000) – oil, oil pastel and assemblage on canvas – 150 x 130 cm

(Detail of) Fable (2000)

Self-portrait in the Hidden Works Room (2000) – oil, oil pastel, inks and paper on canvas – 140 x 140 cm

(Detail of) Self-portrait in the Hidden Works Room (2000)

Conspirators (2000) – oil and oil pastel on canvas – 130 x 150 cm

Lady Governor (2000) – oil, inks, collage and enamel on framed wood – 47 x 28 cm

(Detail of) Lady Governor (2000)

Autobiography -Chapter I-. I was crazy too (2000) – oil on canvas – 200 x 100 cm – Stradella-Bianchi collection

(Detail of) Autobiography -Chapter I-. I was crazy too (2000)

Autobiography -Chapter III-. The world of Vanina Serra, waiting for me after my unsuccessful suicide (2000) – oil and oil pastel on canvas – 100 x 200 cm

Sanctification of the Stupidity (2000) – oil, oil pastel, collage and assemblage on canvas – 140 x 200 cm

(Detail of) Sanctification of the Stupidity (2000)

Decrepitude of the Willow Tree (2001) – oil, oil pastel, golden and silver inks, collage and assemblage on canvas – 140 x 140 cm

(Detail of) Decrepitude of the Willow Tree (2001)

Nine Women (2000/2001) – oil, oil pastel, collage and palette on canvas – 140 cm each side (rhombus)

Map of the destruction (2001) – oil, oil pastel, colored felt-tip pens, ink and brush on canvas – 130 x 150 cm

(Detail of) Map of the destruction (2001)

Argentine Exhibition (2001/2002) – oil, oil pastel, collage and assemblage on canvas – 160 x 380 cm (triptych)

(Detail of) Argentine Exhibition (2001/2002)

The Chihuahua’s Crucifixion flanked by the genetic study of their biological parents (2000/2002) – oil, oil pastel, paperboard and collage on canvas – 150 x 290 cm (triptych)

(Detail of) The Chihuahua’s Crucifixion flanked by the genetic study of their biological parents (2000/2002)

FALSIFICACIONES (FORGERIES, 1994-1998)

In 1994, after the Putrefacturados series, Charif start to paint a series inspired in old masters works that impressed him on his early childhood (works by Baldung, Bruegel, Cosimo, Cranach, Crivelli, Jan de Flandes and Fouquet among others), combining the older oil painting classic techniques with other invented by himself. In spite of some informalistic procedures and the presence of assemblages in most works, all paintings keeps the size and proportion of the source of inspiration.

Maturation of the Rebel Angels (1994/1996) – oil, fire, oil pastel, collage and assemblage on canvas – 120 x 170 cm – Fundación Elía-Robirosa Collection – NOTE: Inspired by “De val der opstandige engelen” (“The Fall of the Rebel Angels”, 1562), by Pieter Bruegel the Elder (1525-1569)

(Detail of) Maturation of the Rebel Angels (1994/1996)

My Mom’s Childhood (1995) – oil, fire, oil pastel, collage and assemblage (stone from the Berlin Wall among other objects) on canvas – 35 x 27 cm – NOTE: Inspired by “La niña del pájaro muerto” (Young Girl with a Dead Bird) by Juan de Flandes (circa 1460-1519)

Death on the Young Organism (1995/1996) – oil, fire, oil pastel, ink, pencils, collage and assemblage on canvas – 30 x 15 cm – NOTE: Inspired by “Der Tod und das Mädchen” (1517) by Hans Baldung -Grien- (1484/85-1545)

(Detail of) Death on the Young Organism (1995/1996)

Allegory of the Psychoanalysis (1995/1996) – oil, fire, oil pastel, inks, pencils, collage and assemblage on canvas – 50 x 35 cm – NOTE: Inspired by “De_keisnijding” (“The Extraction of the Stone of Madness”, circa 1494) by Jheronimus Bosch (circa 1453-1516)

The Skin That Bleeds (1995/1996) – oil, fire, oil pastel, collage, human teeth, polyester, pubic hair and assemblage on canvas – 80 x 60 cm – NOTE: Inspired by “Cristo in pietà e un angelo” (1475) by Antonello da Messina (circa 1430-1479)

(Detail of) The Skin That Bleeds (1995/1996)

My Past (1994/1996) – oil, fire, oil pastel, collage and assemblage on canvas – 80 x 60 cm – NOTE: Inspired by “La Vierge de Melun” (circa 1450) by Jean Fouquet (1420-1481)

(Detail of) My Past (1994/1996)

Power Corrupts the Beauty of Faces (1997) – ink, pencil, paper and oil pastel on paper

Diptych of the Powerful (1995/1996) – oil, oil pastel, collage and assemblage on canvas – 50 x 35 cm each panel – NOTE: Inspired by “Doppio ritratto dei duchi di Urbino” (1465-1472 circa) by Piero Della Francesca (1416/1417-1492)

(Detail of) Diptych of the Powerful (1995/1996)

Face of the Anguish (1997) – oil, oil pastel, collage and assemblage on canvas – 140 x 100 cm – NOTE: Inspired by “Sant Jordi matant el drac” (circa 1425-1437) by Bernat Martorell (circa 1400-1450)

(Detail of) Face of the Anguish (1997)

Homage to That Which We Cannot Understand (1996) – oil, collage, oil pastel and assemblage on canvas and old frame – 34 x 24 cm – NOTE: Inspired by the “Ritratto di Simonetta Vespucci come Cleopatra” (circa 1480) by Piero di Cósimo (1461-1522)

(Detail of) Homage to That Which We Cannot Understand (1996)

The Carnal Life (1996) – oil, paper, and gold leaf on table – 21 x 15 cm – NOTE: Inspired by “Madonna col Bambino” (circa 1480) by Carlo Crivelli (circa 1430-1495)

“The road to excess leads to the palace of wisdom” -William Blake (1995/1996) – oil, collage and oil pastel on canvas – 70 x 110 cm – NOTE: Inspired by “Der Geschmackssinn” (circa 1617/1618) by Jan Bruegel the Elder -called Velvet- (1568-1625)

(Detail of) “The road to excess leads to the palace of wisdom” -William Blake (1995/1996)

Our Delirium (1995/1996) – oil, collage. oil pastel, wall painting, stones, mosaics, tiling and assemblage on canvas – 140 x 170 cm – National Museum of Fine Arts collection (Buenos AIres, Argentina) NOTE: Inspired by “De Toren van Babel” (1563) by Pieter Bruegel (1525-1569)

(Detail of) Our Delirium (1995/1996)

Dead Man Talking (1997/1998) – oil, oil pastel, collage and assemblage on canvas – 31 x 200 cm – Lorenzo Einaudi collection – NOTE: Inspired by “Der Leichnam Christi im Grabe” (1520-1522) by Hans Holbein der Jüngere (1497/1498-1543)

(Detail of) Dead Man Talking (1997/1998)

Study About Narcotics (1996/1997) – oil, collage, wallpapering, palette, document for the purchase of a famous Argentinian painter Raúl Soldi, oil pastel and inks on canvas – 210 x 110 cm – NOTE: Inspired by “Symphony in White, No. 1”, a.k.a. “The White Girl” (1861-1862) by James Abbott McNeill Whistler (1834-1903)

(Detail of) Study About Narcotics (1996/1997)

Dandy Embryo (1998) – oil, collage, oil pastel, enamel and metallic chain on hardboard and wood frame – 56 x 41,5 cm – NOTE: Inspired by “Edward, Prince of Wales” (1539) by Hans Holbein der Jüngere (1497/1498-1543)

(Detail of) Dandy Embryo (1998)

FIRST EXPERIMENTS (Youth Works)

After first years studing classical painting and drawing, and around eleven years old, starts to experiment with diverse techniques and all kind of materials on canvas, paper and stone: gouache, shoe polish, dyes, enamel, pastels, tea, coffee, inks, stones, objects, fire, glues.

Bart Simpson Will Be a Bourgeois (1993) – enamel, oil, assemblage (blade of glue) on palette set on canvas – 50 x 50 cm

Spanish Bat (1993) – enamel and photographic envelope on canvas – 100 x 100 cm

The Super Other (circa 1993-1994) – tempera, cooking oil, coffee, inks and enamels on paperboard – 44 x 66 cm

Perfidious Love: Your Stomach Suffers (circa 1993) – watercolor on old magazine page – 32, 4 x 46, 8 cm

In Other Words, I Want to Fuck You (circa 1993) – watercolor on old magazine page – 32, 4 x 46, 8 cm

Your Child Is Right: Phantoms Exists (circa 1993) – watercolor on old magazine page – 32, 4 x 23, 4 cm

Be Careful: You Cough, and Death Approaches You (circa 1993) – watercolor on old magazine page – 32, 4 x 23, 4 cm

Scotland (circa 1983-1986) – oil on canvas – 80 x 60 cm

Scotland (circa 1983-1986) and The Winner (assemblage, circa 1991-1992) in Charif’s hands – photo by Sumaia O (2005)

Scotland (circa 1983-1986) in a scene of “The Reason” (feature film directed by Charif and released in 2010)

Francesco (circa 1982) – acrylic painting on laminated paper

(Detail of) Francesco (circa 1982)

Das Sein (circa 1980-1981) – acrylic painting on laminated paper

(Detail of) Das Sein (circa 1980-1981)

The Profession That Rembrandt Had to Hide (circa 1980-1981) – acrylic painting on laminated paper

Automaton Castrated at Sunrise (circa 1982) – acrylic painting on laminated paper

Van Gogh Pre-Punk (circa 1982) – acrylic painting on laminated paper

Apotheosis (circa 1980-1981) – art intervention with acrylic painting on a Poussin print

Nucleus (circa 1980) – oil pastel on typing paper

White Minotaur (circa 1980) – oil pastel, shoe polish and white tempera on paper, set over oil pastel on canvas

Duel to the Death Between Two Visitors From Different Planets (circa 1980) – oil pastel and white tempera on typing paper

Crying of an Undecided Boy (circa 1979-1981) – oil pastel, pencil and ink on paperboard

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Charif · 沙里夫 ·

Official site of Gustavo Charif, writer, artist and filmmaker

PAINTINGS

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