POLEO Alexandra - Artrinet

POLEO Alexandra

Artrinet work analysis of POLEO Alexandra

Classification : A250-A190-B180-B170-B190-C120-C190-D115-D110
(You can click on each code separatly
to locate it in the general classification grid.)

POLEO Alexandra
www.alexandra-poleo.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, ...).

A190 : Abstracts not constructed / informal mixed (between "Matter informalist", "Tachism" and "Action Painting"
(Willem De Kooning, Clifford Still, Antoni Tapiès, Bengt Lindström, Riopelle, Olivier Debré, ...).

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

B180 : Materiality
in painting, but also with all other materials with the following possibilities: mixed materiality: structured / unstructured
when a work is "structured" in its "lack of structure", and vice versa (repetition of forms, signs, matter ... Viallat, Toroni, Degottex, Hantaï,...).

B170 : Materiality
in painting, but also with all other materials with the following possibilities: unstructured unstructured combinations
free combinations of colour, matter and volumes in a more unstructured fashion (Alberto Burri, Manolo Millares, ...).

B190 : Materiality
in painting, but also with all other materials with the following possibilities: Structured lines / flat areas / Drawing
Strong lines bounding coloured areas, or the drawings contained within (R.Indiana, P. Stampfli, V. Adami, H. Télémaque, M. Sanejouand, Aki Kuroda,...).
Or importance of "line" in the drawing (Hans Bellmer, Pierre Klossowski, J.L.Guitard,...).

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", ...).

C120 : towards the intellectual side/ the essence of things inward looking work chiefly oriented towards: projective
dreams, poetry, lyricism, psychedelic experience … to "project" an inner world (Henri Michaux, Wols, ...).

C190 : tending towards the corporeal / the senses the work as the result of an action gestural
the work as the result of a bodily movement, chiefly a hand movement: from Jackson Pollock's "Dripping" to Georges Mathieu's "Lyrical Abstraction", L. Fontana's "perforations" to the flayed figures of V. Vélickovic.

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").

D115 : via what is meant in various narrations or symbolisms whatever they may be
allegorical, metaphorical (J. Beuys' "materials", ...), analytical (Mario Merz's "Fibonacci series", or those of Robert Filliou, ...), critical (from Henri Cueco to Hans Haacke or Guillaume Bijl, ...).

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, ...).

POLEO Alexandra
www.alexandra-poleo.com