Charles Dreyfus' work, both poetic and plastic, seeks a balance.

He introduces the "figure" into the poetic discourse; he knows that the specific nature of the visual prevents one from deliberately grafting new basic units without profoundly altering the nature of the whole.

By placing words on objects, it doubly blurs the transparency of the sign, the property of its arbitrariness. He runs, with his sanded mirrors, the adventure of an opaque discourse. The sound/sense/graphic combinations combine for a model of language that is endless in itself. Language is no longer an instrument for communicating. It is a question of absorbing linguistics in aesthetics: "It is born spontaneously with the representation it expresses".  

"At the beginning of the 70s, I chose to devote myself to the study of Fluxus - movement "nourished" of the avant-gardes of the years 10-20 and to become its historian and actor. In New York, I met the instigator of Fluxus, George Maciunas.. and those of the fluxus artists I had not been able to meet in Europe. I also had the chance by my partner Barbro Ostlihn (Swedish painter arrived in New York in 1961) to maintain friendly relations with the great figures of contemporary art (Robert Rauschenberg, Jasper Johns, John Cage, Christo, Claes Oldenburg...) and by my friend Jean Dupuy, to share the interests of the avant-garde of the 70s (video art, art and technology, performances and new music...). In the 1980s, I was in charge of the editorial and coordination of Kanal Magazine (1985-91), and I prepared about fifty files and wrote a large number of articles on contemporary art. I am the European correspondent for the Quebec contemporary art magazine Inter Art Actuel and president of the publishing association of Omnibus, a contemporary art magazine in which I also publish."

" (...) Charles Dreyfus, an unclassifiable opener of boxes and tracks... A philosophy nurtured by Buster Keaton, through audio-verbal-visual gags.. a long and singular tradition that dates back to the sophists and the Tao. (...) " Excerpt from a text by Michel Giroud on Charles Dreyfus

Five solo exhibitions by Charles Dreyfus took place at Galerie Lara Vincy: Tout le monde descend in 1992, Emprise directe in 1997, Le jour où la nuit vit le jour in 2000, Du présent à l'immédiateté in 2007 and Tyché entichée in 2018.