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

The Solution to All Your Problems (2026) – detail

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

The Time Machine, (2026) – detail

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

We’ll Never Know (2021) – detail

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

Portrait of You Looking at This Painting (2021) – detail

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

Crying Old Man (2021) – detail

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

Elderly Man with Privileges” (2021) – detail

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

“The people DON’T want to know…” (2022) – detail

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). 30 x 40 cm. Acrylic painting, inks, colored pencils, collage and oil pastel on canvas.

(Detail.) “La Matanza” (2015).

“Qatar Dream” (2013). 122 x 183 cm. Mixed media on canvas.

(Detail.) “Qatar Dream” (2013). Photo: Li Xin Xian.

“White Noise” (2013). 76,5 x 91,5 cm. Acrylic painting, inks, pencils, collage, oil pastel and assemblage on canvas.

“Wanted” (2013). 76,5 x 122 cm. Acrylic painting, inks, pencils, collage, oil pastel, oil and assemblage on canvas.

(Detail.) “Wanted” (2013).

“Narco Tintin” (2013). 76,5 x 122 cm. Acrylic painting, inks, pencil, collage and oil pastel on canvas.

(Detail.) “Narco Tintin” (2013).

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

(Detail.) “More Than Just Crunch” (2013).

“Mind your Mind” (2013). 76,5 x 122 cm. Acrylic painting, inks, collage and oil pastel on canvas.

(Detail.) “Mind your Mind” (2013).

“People need to understand” / “Lessons From The Fall” (2013). 100 x 200 cm. Mixed media on canvas. 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.) “People need to understand” / “Lessons From The Fall” (2013).

“Heaven in Hell” (2013). 61 x 45,5 cm. Acrylic painting, inks, pencils, collage and oil pastel on canvas.

(Detail.) “Heaven in Hell” (2013).

“Nightmare of a Beast” (2013). 45,5 x 61 cm. Acrylic painting, inks, pencils, collage and oil pastel on canvas.

(Detail.) “Nightmare of a Beast” (2013).

“Cannibal Holocaust” (2013). 76,5 x 91,5 cm. Acrylic painting, inks, pencil, collage and oil pastel on canvas.

(Detail.) “Cannibal Holocaust” (2013).

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

(Detail.) “Life of an Eye” ( 2013).

“Into the Unknown” (2012/2013). 76,5 x 101,5 cm. Mixed media on canvas.

(Detail.) “Into the Unknown” (2012/2013).

“Golden Trash” (2012). 61 x 45,5 cm. Mixed media on canvas.

(Detail.) “Golden Trash” (2012).

“Silence, please” (2012). 45,5 x 91,5 cm. Acrylic painting, oil, oil pastel and collage on canvas.

(Detail.) “Silence, please” (2012).

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

“The Future Woman” (2012). 76,5 x 61,5 cm. Mixed media on canvas.

(Detail.) “The Future Woman” (2012).

“Rotten Mondrian” (2012). 61,5 x 76,5 cm. Acrylic painting, inks, oil pastel and collage on canvas.

(Detail.) “Rotten Mondrian” (2012).

“Family of Man” (2012). 25,5 x 51 cm. Mixed media on canvas.

(Detail.) “Family of Man” (2012).

“Land Escape” (2012). 25,5 x 51 cm. Mixed media on canvas.

(Detail.) “Land Escape” (2012).

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

(Detail.) “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). 20 x 40 cm. Oil and paper on canvas.

(Detail.) La mujer que levitaba en cada orgasmo” (“The woman that levitated with each orgasm”, 2004).

“Vida en un mundo maravilloso” (Life in a Wonderful World”, 2003). 80 x 140 cm. Oil, assemblage and collage on canvas.

“Manera de escalar el Fitz Roy” (“Way to climb Fitz Roy”, 2003). 70 x 140 cm. Oil pastel, inks and collage on canvas.

“La poca voluntad” (“The weak will”, 2003/2004). 80 x 140 cm. Oil, oil pastel, collage, inks and assemblage on canvas.

“Resurrección de la carne” (“Resurrection of the Flesh”, 2004). 80 x 140 cm. Oil and collage on canvas.

(Detail.) “Resurrección de la carne” (“Resurrection of the Flesh”, 2004).

“Retrato de un hombre” / “Portrait of a Woman” (2004). 41.5 x 41.5 cm. Oil and collage on canvas.

“Retrato de un hombre” / “Portrait of a Man” (2004). 41.5 x 41.5 cm. Oil and collage on canvas.

“Beato Hamlet” / “Beatus Hamlet” (2004). 40 x 40 cm. Oil and collage on canvas.

“Pausa en un idilio” / “Pause in an idyll” (2004). 20 x 40 cm. Óleo and collage on canvas.

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

(Detail.) “Imán hacia el naufragio” (“Magnet towards the shipwreck”, 2004).

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

(Detail.) “Manera de remar un naufragio” (“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). 140 x 200 cm. Oil, collage and digital image on canvas.

(Detail.) “La luz de una lámpara china” (“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). 140 x 200 cm. Oil and collage on canvas.

(Detail.) “El hombre, que pudo ser sabio, convertido en simio para ser sabio” (“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). 160 x 160 cm. Oil and collage on canvas.

(Detail.) “La mujer Tawaddud -Noches 437 a 462-” (“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). 200 x 140 cm. Oil and assemblage on canvas.

(Detail.) “Un mundo para el ave ruj” (“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). 142 x 406 cm. Oil and collage on canvas.

(Detail.) “Los días contiguos a las mil y una noches” (“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 – 2021)
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 techiques with other invented by himself. In spite of some informalist 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)

(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)

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)

“Homenaje a lo que no podemos entender” (“Homage to That Which We Cannot Understand”, 1996). 34 x 24 cm. Oil, collage, oil pastel and assemblage on canvas and old frame. Inspired by the “Ritratto di Simonetta Vespucci come Cleopatra” (circa 1480) by Piero di Cósimo (1461-1522).

“Homenaje a lo que no podemos entender” (“Homage to That Which We Cannot Understand”, 1996). Detail.

“La vida carnal” (“The Carnal Life”, circa 1996). 21 x 15 cm. Oil, paper, and gold leaf on table. 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). 70 x 110 cm. Oil, collage and oil pastel on canvas. Inspired by “Der Geschmackssinn” (circa 1617/1618) by Jan Bruegel the Elder -called Velvet- (1568-1625).

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

“Nuestro delirio” (“Our delirium”, 1995/1996). 140 x 170 cm. Oil, collage. oil pastel, wall painting, stones, mosaics, tiling and assemblage on canvas. Inspired by “De Toren van Babel” (1563) by Pieter Bruegel (1525-1569). Museo Nacional de Bellas Artes (“National Museum of Fine Arts”) collection, Argentina.

“Nuestro delirio” (“Our delirium”, 1995/1996). Detail.

“El muerto que habla” (“Dead man talking”, 1997/1998). 31 x 200 cm. Oil, oil pastel, collage and assemblage on canvas. Inspired by “Der Leichnam Christi im Grabe” (1520-1522) by Hans Holbein der Jüngere (1497/1498-1543). Lorenzo Einaudi collection.

“El muerto que habla” (“Dead man talking”, 1997/1998). Detail.

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

“Estudio sobre los narcóticos” (“Study About the Narcotics” (1996/1997). Detail.

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

“Embrión de dandy” (“Dandy Embryo, 1998). Detail.

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 se aburguesará” (“Bart Simpson Will Be a Bourgeois”, 1993). 50 x 50 cm. Enamel, oil, assemblage (blade of glue) on palette set on canvas.

“Murciélago español” (“Spanish bat”, 1993). 100 x 100 cm. Enamel and photographic envelope on canvas.

“El Super Otro” (“The Super Other”, circa 1993-1994). 44 x 66 cm. Tempera, cooking oil, coffee, inks and enamels on paperboard.

“El amor pérfido: vuestro estómago sufre” (“Perfidious Love: Your Stomach Suffers”, circa 1993). 32, 4 x 46, 8 cm. Watercolor on old magazine page.

“In Other Words, I Want to Fuck You” (circa 1993). 32, 4 x 46, 8 cm. Watercolor on old magazine page.

“Su niño tiene razón: los fantasmas existen” (“Your Child Is Right: Phantoms Exists”, circa 1993). 32, 4 x 23, 4 cm. Watercolor on old magazine page.

“Cuidado: usted tose y la muerte se acerca” (“Be Careful: You Cough, and Death Approaches You”, circa 1993). 32, 4 x 23, 4 cm. Watercolor on old magazine page.

“Scotland” (circa 1983-1986). 80 x 60 cm. Oil on canvas.

Scotland” (circa 1983-1986) and “El Triunfador” (“The Winner”, assemblage, circa 1991-1992) in Charif 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.

“Francesco” (circa 1982). Detail.

“Das Sein” (circa 1980-1981). Acrylic painting on laminated paper.

“Das Sein” (circa 1980-1981). Detail.

“La profesión que Rembrandt tuvo que ocultar” (“The Profession That Rembrandt Had to Hide”, circa 1980-1981). Acrylic painting on laminated paper.

“Autómata castrado al amanecer” (“Automaton castrated at sunrise” circa 1982). Acrylic painting on laminated paper.

“Van Gogh Pre-Punk” (circa 1982). Acrylic painting on laminated paper.

“Apoteosis” (“Apotheosis”, circa 1980-1981). Art intervention with acrylic painting on Poussin print.

“Núcleo” (“Nucleus”, circa 1980). Oil pastel on typing paper.

“Minotauro blanco” (“White Minotaur”, circa 1980). Oil pastel, shoe polish and white tempera on paper, set over oil pastel on canvas.

“Duelo a muerte entre visitantes de distintos planetas” (“Duel to the Death Between Two Visitors From Different Planets”, circa 1980). Oil pastel and white tempera on typing paper.