Ma chair n’est donc pas seulement le principe de la constitution de mon corps objectif, elle cache en elle sa substance invisible. Telle est l’étrang… - Michel Henry

Man’s forgetting of his condition of Son relates not only to the Concern for the world in which he constantly invests himself. As we have seen, it is the phenomenological essence of Life that makes Life what is most forgotten, the Immemorial to which no thought leads. Because Forgetting defines its phenomenological status, life is ambiguous. Life is what knows itself without knowing it. That it suddenly knows it is neither incidental nor superfluous. The knowledge by which one day life knows what since the beginning it knew without knowing it is not of a different order than the knowledge of life itself: it is a pathetik upheaval in which life feels its self-affection as absolute Life’s self-affection. This possibility, which is always open to life, to suddenly experience its self-affection as absolute Life’s self-affection, is what makes it a Becoming. But then, when and why is this emotional upheaval produced, which opens a person to his own essence? Nobody knows. The emotional opening of the person to his own essence can only be born of the will of life itself, as this rebirth that lets him suddenly experience his eternal birth. The Spirit blows where it wills.

The magnitude of an artwork only results from subjective forces. If these forces happen to be lacking, the edifice will crumble. The colossal works of fascism, socialist gigantism, and, in our eyes, the syncretism of the post-modern era are all the unfortunate testimony to this inner void. Because the exaltation of the powers of life can only be produced in life, life can do without these pretentious manifestations. The size of the material means does nothing for it. This can most surely be found in the small but very precise experiments where Kandinsky puts the elements of one single art or two different arts into relations of belonging or internal reciprocity. This is how he illustrated the stories of the Russian poet Remizov and composed his 'Sounds' collection, an admirable example of 'synthetic' work in which he decorated some of his own poems with coloured wood and other ones in black and white.

The experience of red does not consist of perceiving a red object or the colour red as such and of taking it as being red; instead, it consists of experiencing the power of the impression in ourselves. That is what eliminates all objective mediation from painting: the mediation of objects, the sense that they can be given, thought, 'culture' with its variations by time and place and ultimately the various theories that represent this non-existent mediation. That is also why abstract painting, which bypasses the mediation of language and culture understood as a group of representations, can be called a popular art. It is devoted to the expressive power and the direct communication of colour, its immediate experience in life.