What is true about heat and pain is also true about colour. The rock is no more red than it is hot or painful. It can only have a colour -- red, blue… - Michel Henry

This is the miracle of abstract painting: it constructs the unlimited monumentality of a work that no longer has a foothold in the visible world, that ignores its rules and does not seek anything from it, neither aid nor sanction, and that emerges with the pure force and infinite certainty of life. Withdrawn from the weight of things and from the inertial systems in which things are held and have their limited possibilities circumscribed, the work of art proceeds from the imagination. To imagine is to posit something other than what is and what is there right in front of us -- something other than the world. To imagine is to posit life.

Instead of determining the action of life, ends, norms and values are determined by it. This determination consists in the fact that one experiences oneself constantly and knows oneself at every moment. Life also knows at each instant what must be done and what is suited to it. This knowledge is no different from action. It does not precede it or "determine" it, properly speaking. It is identical to it, as the original know-how of life, as praxis and a living body. Action, as we have seen, is only the actualization of the primitive power of this phenomenological body.

Art will rediscover its way in a different type of nature (from the Galilean nature). The sensible qualities of this nature are not reduced to external features, as mere signs that are limited to 'representing' a foreign reality. These qualities are modes of life: impressions, tones and tonalities. This is what I mean: by tearing colours and linear forms away from the ideal archetype of meanings that constitute the objective world and by taking them in their non-referential pictoriality, Kandinskian abstraction does not depart from nature but returns to its inner essence. This original, subjective, dynamic, impressional and pathetic nature -- the true nature whose essence is Life -- is the cosmos. A dazzling claim from The Blaue Reiter Almanac, highlighted by Kandinsky himself, defines the Arche (or the Origin) where Art and Cosmos are identical: 'The world sounds. It is a cosmos of spiritually affective beings. Thus, dead matter is living spirit'.