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, …).
B axis : MATERIALITY
How does the materiality of what is shown come across?
(on a scale from more "immaterial" to more "real").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. 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", ...).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, ...). C190 : tending towards the corporeal / the senses the work as the result of an action gestural
the work as the result of a bodily movement, chiefly a hand movement: from Jackson Pollock's "Dripping" to Georges Mathieu's "Lyrical Abstraction", L. Fontana's "perforations" to the flayed figures of V. Vélickovic.
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, ...).
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