ODIC Maurice - Artrinet

ODIC Maurice

Artrinet work analysis of ODIC Maurice

Classification : A280-B120-C130-D140
(You can click on each code separatly
to locate it in the general classification grid.)

ODIC Maurice
www.artmajeur.com/odic/

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").

A280 : Figures Imaginary The unconscious
generally rather abstract interior spaces. But rising out of the abstract, elements of the imaginary world can crystallize into pre-figurative shapes (Masson, Mirò, Arshile Gorky, …).

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

B120 : Immateriality by photography (film or digital)
any "action", or representation, so long as it is made visible as a statement on any backing (cibachrome, perspex, paper, ...). Here, under B120; in fixed images (film or digital: J.M.Bustamante, Philippe Ramette, Cindy Scherman).

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", ...).

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").

D140 : 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., ...). exploration and variations on a theme or on a single resource (object, material, ...)
to make it express the maximum (Cézanne's "Saintes Victoires", Andy Warhol's "Marylins" , Rutault's "methods", "bodies" by J. and D. Chapman, or by Katharina Fritsch, ...) or of a single resource (objects, materials, etc.: G. Titus Carmel's "bananas"; Miralda's "soldiers"; Damien Hirst's "cigarette butts" ...) in order to explore all its facets

ODIC Maurice
www.artmajeur.com/odic/