In a study of the painting of Charles Lapicque, by Jean Lescure, we read: “Although his work gives evidence of wide culture and knowledge of all the dynamic expressions of space, they are not applied, they are not made into recipes . . . Knowing must therefore be accompanied by an equal capacity to forget knowing. Non-knowing is not a form of ignorance but a difficult transcendence of knowledge. This is the price that must be paid for an oeuvre to be, at all times, a sort of pure beginning, which makes its creation an exercise in freedom.”
