PAINTINGS

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

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)

Charif is gets back to Argentina on first years of Néstor Kirchner government, and soon he identify the “kirchnerism” with a new kind of fascism (something predictable due the first steps of Kirchner as Governor in Santa Cruz province, and natural due the Peronist roots of this “new” movement). Soon starts a series of works critical with Peronism/kirchnerism as well as with Peronist sindicates and organizations. In the past, Charif had a similar attitud doing satirical works (specially collages) against other presidents (like Menem and Fernando de la Rúa), but this time he made an entire exhibition with politc topic in a series of big oil paintings on canvas. The exhibition in the Sívori Museum (Buenos Aires, 2003) was lengthly covered by the Argentinian press, but in the other hand Charif became in a kind of cultural pariah in the country during the following years. In spite of this, his last public intervention in Argentinian art life was the release of his film The Reason (2010), maybe the most anti-Peronist film ever conceived and set in the 40s, during first presidence of General Perón.

“Ellos, con uno de nosotros” (“Them, with one of us”, 2003). 162 x 262 cm. Oil on canvas.

(Detail.) “Ellos, con uno de nosotros” (“Them, with one of us”, 2003).

“A la naturaleza hostil” (“To the hostile nature”, 2003). 140 x 80 cm. Oil, fire, canvas, collage and assemblage on canvas. Colección Stradella-Bianchi.

(Detail.) “A la naturaleza hostil” (“To the hostile nature”, 2003).

“Victorio Lenz herido de guerra” (“Victorio Lenz, war wounded”, 2003-2009). 200 x 70 cm. Oil on canvas.

(Detail.) “Victorio Lenz herido de guerra” (“Victorio Lenz, war wounded”, 2003-2009).

“Children Factory” (2008). 140 x 160 cm. Oil on canvas.

Charif in his studio with a 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”.

“La tierra vuela, pero mi reino es de este mundo” (“Earth Flies, but My Kingdom Is of This World”, 1998). 150 x 200 cm. Oil and mixed media on canvas.

(Detail.) “La tierra vuela, pero mi reino es de este mundo” (“Earth Flies, but My Kingdom Is of This World”, 1998). .

“El mito de la libertad” (“The Myth of the Freedom”, 1998). 120 x 170 cm. Oil and mixed media on canvas.

(Detail.) “El mito de la libertad” (“The Myth of the Freedom”, 1998).

“Moscas en la leche” (“Flies in Milk”, 1998). 150 x 200 cm. Oil and mixed media on canvas.

(Detail.) “Moscas en la leche” (“Flies in Milk”, 1998).

“Pero estas alucinaciones ya las reconozco y hace tiempo que dejaron de asustarme” (“But I’ve known these hallucinations, and since a long time they no longer scares me”, 1998). 120 x 170 cm. Oil and mixed media on canvas.

(Detail.) “Pero estas alucinaciones ya las reconozco y hace tiempo que dejaron de asustarme” (“But I’ve known these hallucinations, and since a long time they no longer scares me”, 1998).

“El trabajo de descansar en domingo” (“The labour of resting on Sunday”, 1998). 120 x 170 cm. Oil and mixed media on canvas.

(Detail.) “El trabajo de descansar en domingo” (“The labour of resting on Sunday”, 1998).

“La digestión del oro” (“Digestion of the Gold”, 1998). 120 x 170 cm. Oil and mixed media on canvas.

(Detail.) “La digestión del oro” (“Digestion of the Gold”, 1998).

“Políptico sin Dios” (“Polyptych without God”, 1998). 180 x 180 cm. Oil and mixed media on canvas.

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

“El mundo tal como va” (“The World as it Goes”, 1998/1999). Triptych. 135 x 190 cm. Oil and mixed media on canvas. Note: The title is inspired by Voltaire’s title “Le Monde comme il va”.

(Detail.) “Le Monde comme il va” (“The World as it Goes”, 1998/1999)..

“Para encerrar el dolor en un cuadro” (“To enclose the pain in a painting”, 1998/1999). 140 x 140 cm. Triptych. Oil and mixed media on canvas.

(Detail.) “Para encerrar el dolor en un cuadro” (“To enclose the pain in a painting”, 1998/1999).

“Nos hundimos hacia lo nuevo” (“We sink towards the new”, 1998/1999). 90 x 160 cm. Polyptych in four panels. Oil and mixed media on canvas.

(Detail.) “Nos hundimos hacia lo nuevo” (“We sink towards the new”, 1998/1999).

“Los niños de hoy crecen en barriles martillados” / “The children of today grow up into hammered barrels” (1999). 100 x 200 cm. Oil and oil pastel on canvas.

(Detail.) “Los niños de hoy crecen en barriles martillados” / “The children of today grow up into hammered barrels” (1999).

“Los amigos invisibles” (“The Invisible Friends”, 1999). 100 x 200 cm. Oil, oil pastel, pencil, ink, fire and paper on canvas.

(Detail.) “Los amigos invisibles” (“The Invisible Friends”, 1999).

“Paisaje concreto del romanticismo conceptual” (“Concrete Landscape of the Conceptual Romanticism”, 1999). 170 x 170 cm. Oil, oil pastel and assemblage on canvas.

(Detail.) “Paisaje concreto del romanticismo conceptual” (“Concrete Landscape of the Conceptual Romanticism”, 1999).

“Visiones terrenales” (“Earthly Visions”, 1999). 90 x 160 cm. Polyptych in four panels. Oil, assemblage and mixed media on canvas.

“Tríptico para el martirio de Santa Mojigata Punk” (“Triptych for the martyrdom of St. Prudish Punk”, 1999). 130 cm. x 230 cm. Oil, assemblage and mixed media on canvas.

“A un lado del camino” (“Aside of the way”, 1999). 140 x 140 cm. Oil, oil pastel, inks and old frame on canvas.

(Detail.) “A un lado del camino” (“Aside of the way”, 1999).

“In memoriam” (1999). 100 x 200 cm. Oil, oil pastel, inks, collage and assemblage on canvas.

(Detail.) “In memoriam” (1999).

“Las abuelas siamesas separadas” (“The Siamese Grandmothers Separated”, 1999). 140 x 140 cm. Polyptych. Oil, oil pastel, collage and assemblage on canvas.

(Detail.) “Las abuelas siamesas separadas” (“The Siamese Grandmothers Separated”, 1999).

“Estudio para un homenaje” (“Study for a homage”, 1999). 100 x 200 cm. Oil, pencil, fire and old pastel on paper and canvas.

(Detail.) “Estudio para un homenaje” (“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).

“Segundo estudio para Vanina Hardcore Victory” (“Second study for Vanina Hardcore Victory”, 1999/2000). 140 cm. each side (rhombus).

(Detail.) “Segundo estudio para Vanina Hardcore Victory” (“Second study for Vanina Hardcore Victory”, 1999/2000).

“Mis verdaderos padres” (“My real parents”, 2000). 200 x 100 cm. Oil and oil pastel on canvas.

(Detail) “Mis verdaderos padres” (“My real parents”, 2000). 200 x 100 cm. Oil and oil pastel on canvas.

“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). 120 x 170 cm. Oil, oil pastel, collage and assemblage on canvas.

(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).

“El hombre, simio sublime” (“The man, sublime ape”, 2000). 100 x 200 cm. Oil, oil pastel and used long sleeve shirt on canvas.

(Detail.) “El hombre, simio sublime” (“The man, sublime ape”, 2000).

“Fábula” (“Fable”, 2000). 150 x 130 cm. Oil, oil pastel and assemblage on canvas.

(Detail.) “Fábula” (“Fable”, 2000).

“Autorretrato en el cuarto de trabajos ocultos” (“Self-portrait in the Hidden Works Room”, 2000). 140 x 140 cm. Oil, oil pastel, inks and paper on canvas.

(Detail.) “Autorretrato en el cuarto de trabajos ocultos” (“Self-portrait in the Hidden Works Room”, 2000).

“Conspiradores” (“Conspirators”, 2000). 130 x 150 cm. Oil and oil pastel on canvas.

“La gobernadora” (“The Governor”, 2000). 47 x 28 cm. Oil, inks, collage and enamel on framed wood.

(Detail.) “La gobernadora” (“The Governor”, 2000).

“Autobiografía -Capítulo I-. Yo también estuve loco” (“Autobiography -Chapter I-. I too was crazy”, 2000). 200 x 100 cm. Oil on canvas. Stradella-Bianchi collection.

(Detail.) “Autobiografía -Capítulo I-. Yo también estuve loco” (“Autobiography -Chapter I-. I too was crazy”, 2000).

$“Autobiografía -Capítulo III-. El mundo de Vanina Serra, esperándome luego de mi fracasado suicidio” (“Autobiography -Chapter III-. The world of Vanina Serra, waiting for me after my unsuccessful suicide”, 2000). 100 x 200 cm. Oil and oil pastel on canvas.$

“Autobiografía -Capítulo III-. El mundo de Vanina Serra, esperándome luego de mi fracasado suicidio” (“Autobiography -Chapter III-. The world of Vanina Serra, waiting for me after my unsuccessful suicide”, 2000). 100 x 200 cm. Oil and oil pastel on canvas.

“La santificación de la estupidez” (“Sanctification of the Stupidity”, 2000). 140 x 200 cm. Oil, oil pastel, collage and assemblage on canvas.

(Detail.) “La santificación de la estupidez” (“Sanctification of the Stupidity”, 2000).

“Decrepitud de los sauces” (“Decrepitude of the Willow Tree”, 2001). 140 x 140 cm. Oil, oil pastel, golden and silver inks, collage and assemblage on canvas.

(Detail.) “Decrepitud de los sauces” (“Decrepitude of the Willow Tree”, 2001).

“Nueve mujeres” (“Nine Women”, 2000/2001). 140 cm. cada lado (rombo). / 140 cm. each side (rhombus). Oil, oil pastel, collage and palette on canvas.

(Detail.) “Nueve mujeres” (“Nine Women”, 2000/2001).

“Mapa de la destrucción” (“Map of the destruction”, 2001). 130 x 150 cm. Oil, oil pastel, colored felt-tip pens, ink and brush on canvas.

(Detail.) “Mapa de la destrucción” (“Map of the destruction”, 2001).

“Exposición argentina” (“Argentine Exhibition”, 2001/2002). 160 x 380 cm. Triptych. Oil, oil pastel, collage and assemblage on canvas.

(Detail.) “Exposición argentina” (“Argentine Exhibition”, 2001/2002).

“Crucifixión del chihuahua flanqueado por el estudio genético de sus padres originales” (“The Chihuahua’s Crucifixion flanked by the genetic study of their biological parents”, 2000/2002). Triptych. 150 x 290 cm. Oil, oil pastel, paperboard and collage on canvas.

(Detail.) “Crucifixión del chihuahua flanqueado por el estudio genético de sus padres originales” (“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.

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

“Maduración de ángeles rebeldes” (“Maturation of the Rebel Angels”, 1994/1996). Detail.

“La infancia de mamá” (“My mom’s childhood”, 1995). 35 x 27 cm. Oil, fire, oil pastel, collage and assemblage (stone from the Berlin Wall among other objects) on canvas. ones”, Inspired by “La niña del pájaro muerto” (Young Girl with a Dead Bird) by Juan de Flandes (circa 1460-1519). Enrique Bullrich collection.

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

“Muerte en el organismo joven” (“Death on the Young Organism” (1995/1996). Detail.

“Alegoría del psicoanálisis” (“Allegory of the Psychoanalysis”, 1995/1996). Detail.

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

“La piel que sangra” (“The skin that bleeds”, 1995/1996). 80 x 60 cm. Oil, fire, oil pastel, collage, human teeth, polyester, pubic hair and assemblage on canvas. Inspired by “Cristo in pietà e un angelo” (1475) by Antonello da Messina (circa 1430-1479).

“La piel que sangra” (“The skin that bleeds”, 1995/1996). Detail.

“Mi pasado” (“My Past”, 1994/1996). 80 x 60 cm. Oil, fire, oil pastel, collage and assemblage on canvas. Inspired by “La Vierge de Melun” (circa 1450) by Jean Fouquet (1420-1481). Turri collection.

“Mi pasado” (“My Past”, 1994/1996). 80 x 60 cm. Detail.

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

“Díptico de los poderosos” (“Diptych of the Powerful”, 1995/1996). Detail.

“El rostro de la angustia” (“Face of the Anguish”, 1997). 140 x 100 cm. Oil, oil pastel, collage and assemblage on canvas. Inspired by “Sant Jordi matant el drac” (circa 1425-1437) by Bernat Martorell (circa 1400-1450). Frémon collection.

“El rostro de la angustia” (“Face of the Anguish”, 1997). Detail.

“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.