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").A200 : Abstracts not constructed / informal Action Painting
from the most "Lyrical" to something aproaching handwriting, gesture as the bringing out of what is inside, a thing in its own right, or an attempt to communicate (Hans Hartung, Franz Kline, Georges Mathieu, Jean Messagier, …). A180 : Abstracts not constructed / informal material / splodges
from the most "Nuagist" to the most "Matter informalist" all types of play on the subtle properties of the painting medium and its coloured spaces (Zao Wou Ki, Sam Francis, Ben-Rath, …). A210 : Abstracts with signs
The work as a whole remains abstract but includes (or consists entirely of): signs forming writing: writing without meaning
the sign as an abstract shape placed in the composition of the pictorial space (R.Motherwell, Giuseppe Capogrossi, Christian Dotremont, Cy Twombly, ...).
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, …). B140 : Materiality
in painting, but also with all other materials with the following possibilities: unstructured with colours predominant
by their intrinsic strength (Mondrian, ... ) or their historic and social symbolism (El Lissitzky, ...), etc., the colours are the most important thing here. 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,...).
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", ...). 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, ...).
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, ...).
IDOUX Anne-Marie
www.amidoux-peintures.com |
