PICTET Christine - Artrinet

PICTET Christine

Artrinet work analysis of PICTET Christine

Classification : A240-B130-B120-C150-D115
(You can click on each code separatly
to locate it in the general classification grid.)

PICTET Christine
www.christine-pictet.com

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").

A240 : Allusive inclusion of figures (or real objects ) in the abstract
More or less realistic figurative elements, more or less important but not going beyond details in a predominantly abstract work (Fernand Léger, Jan Voss, Antoni Tàpies, W. De Kooning, the "Combine Paintings" of R.Rauschenberg, ...).

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

B130 : Materiality
in painting, but also with all other materials with the following possibilities: unstructured slight materiality
colours and material are more or less understated, diluted, evanescent, playing with their transparence (Zao Wou Ki, Olivier Debré, …).

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", ...).

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, ...).

PICTET Christine
www.christine-pictet.com