He studied art at the École cantonale d'art du Valais in Switzerland before moving to Berlin to finish his degree at the Universität der Künste where he graduated in 2013 from Olafur Eliasson's Institute of Spatial Experiments.

Inspired by land artists such as Robert Smithson as well as writers like author J. G. Ballard and philosophers Dehlia Hannah and Timothy Morton, his work contributes to a discussion of social and environmental implications of the advancements which have pushed society forward.

[6] Charrière is interested in the concept of fossils as physical markers of time and more specifically what artifacts will be left behind to shape future generations' interpretations of his era.

"[vague][7] Geological specimens being the only form of documentation of Earth's early eons, the artist reinterpreted this idea to create the series Metamorphism wherein electronic waste is melted together with artificial lava and transformed into natural-looking rocks, essentially returning the technological devices to the raw materials from which they are made.

As a result of these two journeys, Charrière created a series of photographs documenting the desolate remnants of the sites developed from analog film exposed to nuclear materials, giving the invisible force of radioactivity a visible presence within the images.

Described as: "toggling between a personal account of a sea journey, above and below water, and a critical investigation of postcolonial geography, As We Used to Float develops broader reflections on place and subjectivity".

The artist became the subject of international news in March 2017 when Berlin police were called to his studio after the testing of his new piece commenting on peaceful scientific development and the dangers of climate change entitled The Purchase of the South Pole.

[22] In the course of his invitation to the Antarctic Biennial 2017, the artist developed a new body of work in which he intensively explored the polar regions and their mode of representation in the collective visual memory of the 21st century.

A publication is dedicated to the film work Towards No Earthly Pole and places it in a context throughout essays written by leading scholars from the disciplines of philosophy, film research, and art history including Francesca Benini,[28] Amanda Boetzkes,[29] Katherine Brodbeck,[30] Dehlia Hannah,[31] Scott MacKenzie[32] & Anna Westerstahl Stenport,[33] Shane McCorristine,[34] Nadim Samman[35] and Katrin Weilenmann[36] as well as a conversation between the artist and Prof. Dr. Konrad Steffen, Professor of Climate and Cryosphere at ETH Zurich and EPFL.