GARAU-LAVIGNE Anne-Marie

GARAU-LAVIGNE Anne-Marie

Artrinet work analysis of GARAU-LAVIGNE Anne-Marie

Classification : A250-B130-C130-C190-D130
(You can click on each code separatly
to locate it in the general classification grid.)

GARAU-LAVIGNE Anne-Marie
www.garaulavigne.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").

B130 : Materiality
in painting, but also with all other materials with the following possibilities: unstructured slight materiality
colours and material are more or less understated, diluted, evanescent, playing with their transparence (Zao Wou Ki, Olivier Debré, …).

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", ...).

C130 : towards the intellectual side/ the essence of things inward looking work chiefly oriented towards: l'introspective
inner landscapes, emotions, feelings (Arpad Szenes, ...), serenity (Yves Klein's "Monochromes", ...), equilibrium ("mandalas" of Augustin Lesage or Adolf Wölfli, ...), memory (Boltenski "boxes", ...).

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").

D130 : via what is meaningful
based on the idea that work on what symbolizes forms an intentional message in itself (for example: Daniel Dezeuze's "Stretchers", etc., etc., ...). by variations in execution
seriality, multiplication (Claude Viallat, Niele Toroni, "figurines" by Antony Gormley, ...), accumulation or compression (J. Chamberlain, Arman, César, ...), subtleties and variability of the material (Rober Ryman's "Whites"; dissolutions of "matter / life" by Roman Opalka or by On Kawara; Gilberto Zorio, ...).

GARAU-LAVIGNE Anne-Marie
www.garaulavigne.com