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拍品專文
'Rarement, très rarement, mais cela arrive en peignant, le corps devient un instrument précis, parfait. L'inconscient et le conscient fusionnés deviennent simple témoin. Témoin qui perçoit avec étonnement l'irruption de l'Universel, du Hors - l'Intemporel en tant que je suis - dans le Maintenant.'
Judit Reigl, "Tout art est heureux", Cahiers de Psychologie de l'Art et de la Culture, Paris, No. 16, 1990, cité in K. Makláry, Judit Reigl - Volume I, Budapest, 2010, p. 14.
'Rarely, very rarely, although it can happen in painting, the body becomes a precise, perfect instrument. The unconsious and the consious merge to become a simple witness. A witness perceiving in astonishment the irruption of the Universal, the Outside - the Timeless in so far as I am - in the Now.'
Judith Reigl, "Tout art est heureux", Cahiers de Psychologie de l'Art et de la Culture, Paris, No. 16, 1990, cité in K. Makláry, Judith Reigl - Volume I, Budapest, 2010, p. 14.
Judit Reigl, "Tout art est heureux", Cahiers de Psychologie de l'Art et de la Culture, Paris, No. 16, 1990, cité in K. Makláry, Judit Reigl - Volume I, Budapest, 2010, p. 14.
'Rarely, very rarely, although it can happen in painting, the body becomes a precise, perfect instrument. The unconsious and the consious merge to become a simple witness. A witness perceiving in astonishment the irruption of the Universal, the Outside - the Timeless in so far as I am - in the Now.'
Judith Reigl, "Tout art est heureux", Cahiers de Psychologie de l'Art et de la Culture, Paris, No. 16, 1990, cité in K. Makláry, Judith Reigl - Volume I, Budapest, 2010, p. 14.