The image is not a representation of a scene, but the presentation of the potentiality of matter. It’s essential content is the advent. It does not deny what follows from the beginning or initiation of the work, which is to say, it does not have its ends in the origin. The work draws out an immanent value by placing the emergence of painting at the center. It orients this event of the advent so that it has value in and of itself, so that what has value is not the first cause but the ultimate of the effect.
Painting is the event of something from nothing, for which prior to its emergence no world existed: it is the contingency of the mark in its virtual becoming that is the eternal composition. There are no laws beyond its own becoming, which is to say that as the event of the emergence of a painting is underway it always changes among change.
Paintings are transformations in the novelty of material. They sediment the advent. Though being actualized, the determinate formations of the work do not reduce becoming. – It is capable of anything. The ratio is of effort to effect. The marks that appear are the work’s trace across a certain parameter of becoming-earth.
There is no discrepancy between the matter-of-fact and the psychic effect. The instantaneous impact of the field of matter contains the capacity to absorb the seer in the substrate of its image.