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BENOIT-BASSET
SARÉ Evgenia
SABLÓN Carlos
VIEUSSE Laure
SCHELL Faline
OLIVIER Daniel
RHIGAS
http://www.rhigas.com






Classification : A290-B230-C140-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").
A290 : Figures Imaginary Visionary, mediumistic, fantasy
Dream monsters or creatures of the night are depicted with greater solidity and realism than in A280 (Matta, Max Ernst, Gustave Moreau, Paul Delvaux, Dado, Vito Tangiani, ... or the recent "Fictionists": Marko Mori, ...).


B axis : MATERIALITY
How does the materiality of what is shown come across?
(on a scale from more "immaterial" to more "real").
B230 : Materiality
in painting, but also with all other materials with the following possibilities: Structured structured combinations
any combinations of lines, colours, matter or volumes of a more structured type (Michail Heizer, Anish Kapoor, Miguel Barceló, ...).


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, ...).


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, ...).