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").
A150 : Abstracts Geometrical constructs: Constructions not based on right angles
from "Post Cubism" with shapes broken down into strict planar surfaces, but not necessarily right angled. (Robert Delaunay, Maurice Estève, Jean Dewasne, Herbin, ...).
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").
B190 : Materiality
in painting, but also with all other materials with the following possibilities: Structured lines / flat areas / Drawing
Strong lines bounding coloured areas, or the drawings contained within (R.Indiana, P. Stampfli, V. Adami, H. Télémaque, M. Sanejouand, Aki Kuroda,...).
Or importance of "line" in the drawing (Hans Bellmer, Pierre Klossowski, J.L.Guitard,...).
B200 : Materiality
in painting, but also with all other materials with the following possibilities: Structured with colours predominant
with their intrinsic or symbolic strength, (Monory's "blues", G.Fromanger's "reds") historical or social meaning etc., and their structuring, the colours here are the most important (Jules Olitsky, Peter Halley, ...).
B210 : Materiality
in painting, but also with all other materials with the following possibilities: Structured with materials predominant
their thickness, composition or the way they are worked as structures (the way they are "built up") are here the most important aspect (Eugène Leroy, 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", ...).
C130 : towards the intellectual side/ the essence of things inward looking work chiefly oriented towards: l'introspective
inner landscapes, emotions, feelings (Arpad Szenes, ...), serenity (Yves Klein's "Monochromes", ...), equilibrium ("mandalas" of Augustin Lesage or Adolf Wölfli, ...), memory (Boltenski "boxes", ...).
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").
D110 : via what is meant with various spiritual or less marked religious influences
(from Barnett Newman to Mark Rothko, from Roman Opalka to Arnulf Rainer, ...).