“People do not wish in any way to take a step. They are accustomed to this external organization and completely neglect what is happening inwardly. And when one realizes that the world is me and that I am the world, then one’s action is no longer divisive; it is no longer a matter of the individual standing against the community. Nor is it a matter of the importance of the individual and his personal salvation. When one realizes that the world is me and that I am the world, then, whatever action is undertaken, whatever change occurs, that action, those changes, will transform the consciousness of humanity in its entirety.”
Krishnamurti, The Awakening of Intelligence
Where Félix continues the analysis of the drawing sent to him by Lucian, and where, more and more, he has the sensation of travelling by himself…
Félix’s Notebook (second part)
The waves rise like living forms, almost animal. The ropes then appear as a human attempt to draw lines above a fundamentally shifting world.
This recalls the universe of the red cube and the marine spirals seen elsewhere: the will toward structure above a more ancient, more organic, more chaotic depth.
The detail of the little blue animal below… probably a kind of dog… is also very important. It appears tiny, almost secondary, yet it acts like a silent witness. It looks toward the suspended figure… and might follow him… It could also be interpreted as a reduced or primitive form of himself. A presence accompanying the crossing without being able to intervene. Within your logic of figures, it could almost be a discreet double, a lateral consciousness, like the parrots observing without immediately being seen.
What strikes me above all is that the image gives no impression of arrival. There is no liberating horizon. The movement seems destined to continue indefinitely. As though living consisted precisely in learning to move within this network of tensions without ever being able entirely to escape it.
One could even go further: the ropes end up resembling narrative lines themselves. Lines that cross, knot, return, tighten. The figure then becomes a being caught within the text. He advances because he is carried by these lines, yet those same lines also define the limits of his movement.
This profoundly echoes the idea according to which the figures seek less to break their prison than to make it traversable.
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