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NEBOUT Delphine

Artrinet work analysis of NEBOUT Delphine


            

Classification : A455-A440-A420-B190-B200-B210-C140-C160-D115-D150-D165
(You can click on each code separatly
to locate it in the general classification grid.)

NEBOUT Delphine
NEBOUT Delphine
www.ultra-book.com/-delphinium

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").
A455 : Neo Figurative More or less allegorical representations ("Trans Avant Garde", "Bad Painting", ...)
J.G. Dokoupil, Julian Schnabel, David Salle, Reiner Fetting, Kenny Scharf, Sandro Chia, Francesco Clemente, Enzo Cucchi, Mimo Paladino, ...
A440 : Neo Figurative "Narrative Figurative Art"
Introduction of the Time element into the depiction of reality. Discontinuities and juxtapositions of different time spaces creating a story within the picture itself (Jacques Monory, Errò, Bernard Rancillac, David Salle,…) or in photomontage (Raoul Hausmann, Richard Hamilton, ...).
A420 : Neo Figurative Near-figurative, linear structures - Flat colours
The simplest style between Naive Art, Folk Art, illustration and comic strip (Gaston Chaissac, V.Brauner, Yvon Taillandier, Eliane Larus, ...). In 2D but also in 3D (Sculptures by J. Dubuffet, Niki de St Phalle, ...).


B axis : MATERIALITY
How does the materiality of what is shown come across?
(on a scale from more "immaterial" to more "real").
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,...).
B200 : Materiality
in painting, but also with all other materials with the following possibilities: Structured with colours predominant
with their intrinsic or symbolic strength, (Monory's "blues", G.Fromanger's "reds") historical or social meaning etc., and their structuring, the colours here are the most important (Jules Olitsky, Peter Halley, ...).
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, ...).


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", ...).
C140 : towards the intellectual side/ the essence of things inward looking work chiefly oriented towards: fantasmagoric
fantasies of all types, be they sexual, social, religious or any other type, so long as there is formal mastery (from Georgia O'Keeffe to Annette Messager, through Clovis Trouille, ...).
C160 : tending towards the corporeal / the senses via expression with "humanity" (the passage from Life to Death)
- in a literal manner (John de Andrea, Duane Hanson, Itsvan Sandorfi, ...)
- or a symbolic manner (James Ensor, G. Rouault, F. Gruber, Zoran Music, Rebeca Stevenson, Jan Vercruysse, ...), ...


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, ...).
D150 : 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., ...). because the work itself contains a really clear message
(Jenny Hölzer's illuminated messages, texts by Ben or On Kawara, ...).
D165 : tending towards the worldly "Relational Aesthetics" and the like
"installations" by Rirkrit Tiravanija, Thomas Hirschhorn, Mathieu Laurette, ...).

NEBOUT Delphine
www.ultra-book.com/-delphinium