ABSTRACT
Jorn makes only the most general reference in his writings to his paintings. Similarly, few of the titles of his paintings, let alone the works themselves, can be directly connected to his writings. This is hardly surprising, for he stated that ‘I use the titles in a very slapdash way, and at the same time making sure not to be too precise, not to give a painting too precise and unambiguous a meaning …, 1 With this in mind, one cannot be sure that the title’s relation to the picture is anything more than that of a unique identifier. Nevertheless, however careless the association with its painting, one title, La luxure lucide de l’hyperesthésie (1970, Atkins 1898, plate 15), encapsulates in one phrase three central themes which concern Jorn in his philosophical ‘revision’.
