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BERGERON-DUVAL Nathalie
LAFFAILLE Véronique
D´ALENCON Christophe
AbeRaku
NASLOT Michel
DORÉ Catherine
MARTIN Sophie
https://www.sophie-martin.com






Classification : A270-B150-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").
A270 : Figures slightly deconstructed
Not as "Hard" as "Constructions not based on right angles " (A150), figures are broken down into a nearly "Post Cubist" style (Picasso, Villon, …) or reveal an "interior geometry" (Bazaine, Jacques Hérold, Veira da Silva, …), while still remaining on the whole recognizable.


B axis : MATERIALITY
How does the materiality of what is shown come across?
(on a scale from more "immaterial" to more "real").
B150 : Materiality
in painting, but also with all other materials with the following possibilities: unstructured with matter predominant
by its thickness, its composition or the way they are built up, matter here has pride of place (J. Fautrier, J. Dubuffet, J.P. Riopelle, and objects by 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", ...).
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, ...).