Abstract
By describing body as original power identical to transcendentallife of ego, in accordance with radical or material phenomenology, we can establish that the phenomenological truth of a bodily subjectivity is the immanence of pure self-affection.
From the perspective of Michel Henry’s view, the Maine Biran and Kandinsky’s analyses show clearly that body potentiality unveils pathos linked with the entire universe and turn it into a living cosmos. This cosmic life, visible in art in general and abstract art in particular, makes us aware that this subjective reality is similar to our own inner strength, as we can clearly demonstrate it by the movement of our hand. Thus, the body itself has access to the world without being reduced to a mere instrument or transcendental mean extraneous to our innermost life.