Painting does not use language. Abstract painting teaches us this, and this is what gives it its power of expression. If colour does not relate to th… - Michel Henry

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Painting does not use language. Abstract painting teaches us this, and this is what gives it its power of expression. If colour does not relate to the feelings of our soul through an external relation but finds its true being in them – as a pure sensation and a pure experience – then it does not even need to translate, through a means, the abstract content of our invisible life. It coincides with our invisible life and is its pathos: its suffering, its boredom, its neglect or its joy.

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About Michel Henry

Michel Henry (10 January 1922 – 3 July 2002) was a French philosopher, phenomenologist and novelist. He wrote five novels and numerous philosophical works. He also lectured at universities in France, Belgium, the United States, and Japan. His novel L'amour les yeux fermés (Love With Closed Eyes) has won the Renaudot Prize in 1976.

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Additional quotes by Michel Henry

Car notre chair n'est rien d'autre que cela qui, s'éprouvant, se souffrant, se subissant et se supportant soi-même et ainsi jouissant de soi selon des impressions toujours renaissantes, se trouve, pour cette raison, susceptible de sentir le corps qui lui est extérieur, de le toucher aussi bien que d'être touché par lui. Cela donc dont le corps extérieur, le corps inerte de l'univers matériel, est par principe incapable.

What is one hungry for, in this Hunger that comes to all those who are well fed, as the misfortune that none of them will escape? What is lacking to each person who sees himself as the site and source of his pleasures and powers, except the power that gave him to himself, and doing so, gave him, in experiencing himself, the possibility of experiencing the power that gave him to himself to enjoy himself and to enjoy the power that gave him the joy of self? It is absolute Life, for which all those who are “well fed” will hunger if each is satisfied with himself as the source if this satisfaction. That they are hungry for absolute Life – whether this absolute Life is the single Food that can satisfy the Hunger, especially the hunger of those who are well fed, or else the sole Water able to quench the Thirst of all those struck by the curse because they live their satisfaction and pleasure as their own doing – is stated in the uncompromising words of the one who speaks about Life as about himself and of himself as of Life: the Arch-Son, in whom Life generates and reveals itself. “I have food to eat that you know nothing about” (John 4:32); “Everyone who drinks this water will be thirsty again, but whoever drinks the water I give him will never thirst. Indeed, the water I give him will become in him a spring of water welling up to eternal life” (John 4:13-14). This Food, finally, is the self-accomplishment of absolute Life, as is also stated: “My food is to do the will of him who sent me and to finish his work” (John 4:34).

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Material phenomenology is able to designate this invisible phenomenological substance. It is not a nothing but rather an affect, or put otherwise, it is what makes every affect, ultimately every affection, and every thing possible. The phenomenological substance that material phenomenology has in view is the pathetic immediacy in which life experiences itself. Life is itself nothing other than this pathetic embrace and, in this way, is phenomenality itself according to the how of its original phenomenalization. Life is thus not a something, like the object of biology, but the principle of every thing. It is a phenomenological life in the radical sense where life defines the essence of pure phenomenality and accordingly of being insofar as being is coextensive with the phenomenon and founded on it. For what could I know that could not appear ?

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