• Place of Birth: Kénitra
  • Year of Birth: 1954

  • Degrees:
    • Bachelor’s in Plastic Arts in 1980 in Casablanca
    • DTM in Plastic Arts in 1999 in Casablanca
  • Teaching Experience:
    • Regional Pedagogical Center (Plastic Arts) in 1982 in
    • Supervising teacher at the Regional Pedagogical Center in
      Kénitra from 1990 to 2015
  • Union Involvement:
    • President of the Free Union of Moroccan Plastic Artists.

Main Exhibitions:

In Morocco Contact
Kénitra: 1979 United Arab Emirates: 1990
Rabat: 1980, 1987, 1991, 2011, 2012 Russia: 1991
Casablanca: 2008, 2021 Ukraine: 1991
El Jadida: 2000, 2009 Spain: 1996
Essaouira: 1999 France: 1997, 2001, 2016
Agadir: 2002, 2010 United States of America: 2011
Fès: 2011 France: Neuf Nancy Gallery 2016
Tétouan: 1986, 1996 United States: Municipal Gallery STEWARST Florida 2016
Tanger: 2006, 2011 United States of America: 2012
Oujda: 2016 United States of America: 2015
Marrakech: Dar Chrifa Gallery 2021
Casablanca: Mine d’Art Gallery 2021








Artistic Events:

  • 1991: Dialogues of Cultures CCF Rabat
  • 1999: Art and Poetry Rabat
  • 2001: Art in Direct
  • 2016: Painter and Poetry Accompaniment Haiku Oujda, Morocco


  • 1987: First national prize for the “ALINTIFADA” poster
  • 1988: First national prize for the “THEATRE SCOLAIRE” poster
  • 1991: First national prize for the “ASSOCIATION SCOLAIRE” poster
  • 2006: First national prize for the design of the “TROPHE FESTIVAL
  • 1998: Auction for the benefit of “INSUFFISANCE RENALE” patients
  • 2000: Auction for the benefit of “MAISON DE DÉTENTION”
  • 2006: Auction for the benefit of “ENFANTS HANDICAPÉS”

Moroccan writer and poète Driss Issa says about Naffi’s paintings:

Mustafa Naffi came out of the limits of the “painting” multiplied by a frame on canvas and wood, and he sided with experimental ways that came with qualities, identities and other labels, so  that it is di cult to resolve in its description, and its a liation to drawing or sculpture. He sought out the framework and worked to break the frames, remove them, distort them, negate them, or multiply them (some of his works are framed in more than one open frame, apart from others).

The frame is splintered, or a side of it falls, or it is not all open. The artwork opens up and goes out into its surroundings and does not remain separated from it by a frame that limits it. The tensions that fill the work of art call for the splitting of this same work and its fragmentation and division into asymmetrical parts. As the work is fragmented, the “vacuum” finds its natural place, and draws colors, shapes and materials as a new art plastic element.

The vacuum here is the “naughtiness” felt, where no color, no matter, no trace falls into the space occupied by the void. It appears in the works of Mustafa Naffi as if there is no form or color. It appears that the material recedes space for emptiness, however it is that vacuum that takes shape and is represented in various forms as if it were another aspect of the material
itself, a manifestation of the possible manifestations of the material. The vacuum here is neither emptiness nor “non-existence” ; It is the substance that has been extinguished and stripped of its weight and shadows to represent one of its first images, which existed before, when it was “nothing”, and had no other name but anticipation on the edge of light and start. The vacuum of artistic work is nothing more than a response to the tensions of work, its fragmentation and its disintegration.

Following are some points of the general concept of Naffi’s paintings

  1. Give the painting a dimension other than the familiar dimension in the classic painting
    (square – rectangle)
  2. Make the empty spaces in the painting concrete and part of its composition.
  3. Make the holder (chassi) an esthetic element that serves to capture some space in the
    pairings instead of keeping its role confined to carrying the canvas.
  4. Working with hard objects (wood), which helps create positive and negative spaces in the
    painting. This allows the possibility of drilling, scratching, touching and contouring
    (juxtaposition , superposition , engravings)

Techniques used in Naffi’s paintings are as follow:

  1. Work on cosmic space and the rotational motion, which is not finished and which creates an orderly
    system within an anarchiste system.
  2. Working on circular movements that reflect the movement of the universe and life in general
  3. Working on contrast in the empty and filled spaces, (antagonistic antagonism – antagonism
  4. Link the movement of the universe and life to human life through the embodiment of the circulation
    of the uterus, genital organs and sperm.
  5. cracking the tabs of some cultures and dealing with sexual elements in the expression of life
  6. the use of tools, materials and elements derived from ancient Moroccan traditional cra s and blend
    them with modern.



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