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COLLANDRE Patrick
DALL´ANESE Jean-Pierre
https://www.dallanesesculpture.com
LA FRÉMONDIÈRE Yvette ( de )
HAURIE-ANDRO Caroline
RODOLPH
RIVAUX Dominique
MARTINAND Gérald
DALL´ANESE Jean-Pierre
https://www.dallanesesculpture.com






Classification : A230-B250-C150-D115
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").
A230 : Abstracts with signs
The work as a whole remains abstract but includes (or consists entirely of): where signs become symbols or icons
crossover from simple writing to meaningful symbols (Jean Fautrier, Alfred Manessier, Alechinsky, Ch. Dotremont, A.R. Penck, Wenda Gu, ...).


B axis : MATERIALITY
How does the materiality of what is shown come across?
(on a scale from more "immaterial" to more "real").
B250 : tautology
any object, or material, etc ... taken and presented alone and as such. reworked objects
in particular sculptors in wood, stone, etc. But also all objets trouvés, recycled and re-worked objects (in particular with Art Brut).


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", ...).
C150 : between
Where the material and corporal necessities of existence confront the multiple questions about its "essence" (from Munch's "Scream" to the Installations of Thomas Hirschhorn, from Karrel Appel's "Scream" to Francis Bacon, ...).


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, ...).