ANTONIA - Artrinet

ANTONIA (NICOLAS Antonia)

Artrinet work analysis of ANTONIA

Classification : A250-B210-B220-C150-D110
(You can click on each code separatly
to locate it in the general classification grid.)

ANTONIA
www.antonia-sculpture.com

The classification provides four or more codes placed on four axis (A - formalism, B - matériality, C - involvement body/mind, D - communication). These codes are positionning the artist in the art history.

A axis : FORMALISM
When looking at the work, what type of formalisation first strikes the eye? Is it more abstract or more figurative, etc ? (on a scale from more "immaterial" to more "realist").

A250 : Allusive a more inclusive, but lighter approach to the figurative
the figure is hinted at by the entangled shapes or from various abstract material elements (Mondrian, Kandinsky, Klee, the "footballers" by N. de Staël, ...), or by formal or coloured allusions ("Abtract Landscape Art"; Jean Bazaine, ...).

B axis : MATERIALITY
How does the materiality of what is shown come across?
(on a scale from more "immaterial" to more "real").

B210 : Materiality
in painting, but also with all other materials with the following possibilities: Structured with materials predominant
their thickness, composition or the way they are worked as structures (the way they are "built up") are here the most important aspect (Eugène Leroy, Bertrand Lavier, ...).

B220 : Materiality
in painting, but also with all other materials with the following possibilities: Structured predominance of volumes
particularly in sculpture and assemblages. Specially for "Minimal Art" and its derivatives (Sol Le Witt, Tony Smith, …).

C axis : INVOLVEMENT BODY/ MIND
With what body:mind ratio does the artist enter into his work?
Classify from the most "intellectual" (e.g."Concept Art"...) to the most "physical" (e.g. "Body Art", ...).

C150 : between
Where the material and corporal necessities of existence confront the multiple questions about its "essence" (from Munch's "Scream" to the Installations of Thomas Hirschhorn, from Karrel Appel's "Scream" to Francis Bacon, ...).

D axis : COMMUNICATION
Does the artist have the deliberate intention to convey a message of any sort through his work?
(classified from the most "mystical" to the most "worldly").

D110 : via what is meant with various spiritual or less marked religious influences
(from Barnett Newman to Mark Rothko, from Roman Opalka to Arnulf Rainer, ...).

ANTONIA
www.antonia-sculpture.com