The idea of community presupposes the idea of something in common as well as the idea of community members who have in common what is held in common.… - Michel Henry

The interpretation of man as “Son of God,” or, more precisely, as “Son within the Son,” has many weighty implications. But before we pursue them, there is one question that cannot be differed. If men are really Sons of God within Christ, how can we explain that so few of them know this and remember it? If they bear within them this divine Life in all its immensity – because there is no other Life but that, and the living can only bow before its profusion – how can we understand why they are so unhappy? In the end, it is not the tribulations visited upon them by the world that oppress them; rather, it is with themselves that they are so discontented. It is their own incapacity to achieve their desires and plans, it is their hesitations, their weakness and lack of courage, that provoke the deep malaise that accompanies them throughout their miserable existence. If they never tire of attributing the cause of their failure to circumstances or to others, it is only to fool themselves and to forget that the real cause lies within themselves. As Kierkegaard puts it: “Consequently he does not despair because he did not get to be Caesar but despairs over himself because he did not get to be himself.” But how can one despair of this me if it is nothing less than the coming into us of God within Christ? Such despair is possible only if, one way or another, man has forgotten the splendor of his initial condition, his condition of Son of God – his condition as “Son within the Son.” It is this forgetting that we must now attempt to understand.

Kandinsky’s singularity is due, moreover, to a circumstance that is vital for out project. The 'Pioneer' did not just produce a body of work whose sensuous magnificence and rich inventiveness eclipse even the most remarkable of his contemporaries. He also provided an explicit theory of abstract painting, exposing its principles with the utmost precision and clarity. So, the painted work is accompanied with a group of texts that at the same time clarify his work and make Kandinsky on of the main theorists of art. Facing the hieroglyphs of the last canvases of the Parisian period (which are said to be the most difficult), they provide the Rosetta stone on which the meaning of these mysterious figures is inscribed.

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.