All 2 entries tagged Sensation
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August 18, 2004
Van Gogh's technique was also to apply a diagram to the figure in order to divert it from purposiveness into an unlocking of sensation. You can see in this work just how, as Deleuze says, for the painter the hand becomes a second eye and the canvas becomes a second mind.
The painter sees the figure. Seeing in this case is just the repetition of singular affects on the complex assemblage of planes of the mind. The eyes and their movement overlay a rhythmic action on this repetition of affects. Secondarily, the painter diverts this rhythm (of movement and light) to the hands, which have corresponding ways of moving, characteristic means of applying paint (and other painterly movements). This is what Deleuze calls the diagram. Van Gogh developed new diagrams of his own, of his own hands, which you can see clearly in this painting. With the application of sensation through the diagram and through the material of the painting, the canvas is built up into zones, lines, contours, planes, thicknesses, colours etc. At this point the painting faces a great danger, as described by Cezanne, the danger of becoming chaotic, of the sensations on the canvas failing to form a balanced and self-sustaining resonance: chaos. Adding new sensations to the canvas inevitably pushes it towards chaos. The greatness of the painter, as you can see in Van Gogh, is the ability to push the canvas towards this catastrophe, only to rescue it and restore the balance and resonances.
In this way, as Kant would have agreed, the adventure of painting is an adventure of the kind experienced in thought itself, an engagement with catastrophe and a subsequent return.
To reiterate Kant, sensation is thought without purposiveness. It is thought that is not taken up by a concept into some telos, some definite finality beyond itself. Just a present, not a future or a plan. It is an impression, but not that of the Impressionists. An impression expressed, but not that of Expressionism. Always outwards facing to the world, but with an entirely internal character of its own. Already a complex assemblage of interactions across the many planes of the mind, planes that anticipate perception, but singular as these complex registers resonate at the sime time. This singularity frames the sensation, but not in any discursive context, only as a repetition of affects.
In his rejection of narrative in favour of the triptych, the attendant figure and repetition, Bacon is the most Kantian of painters yet. His approach is always to address the sensation with a diagram (as Deleuze calls a painterly technique applied to thought). The diagram imediately diverts the path of the sensation onto the canvas and back out into sensation. Diverts it away from assimilation to concepts and narrative. It establishes, frames, a second register like that of the anticipations of perception, this time on the canvas. The painting becomes a focus for the repetition of the sensation, to the painter and others. It is as Kant says, a sensus communis.