Henri Michaux’s ink-on-paper works delve deeply into his exploration of fluid, abstract forms, characterised by an almost meditative engagement with the subconscious and the boundaries of human perception. These creations often feature intricate patterns and spontaneous gestures, reflective of his engagement with automatic drawing techniques inspired by the Surrealist movement, yet they transcend categorisation. Michaux’s profound fascination with Eastern calligraphy manifests in his precise, flowing lines, evoking both control and chaos. His encounter with Zao Wou-ki notably introduced him to Chinese calligraphy and inspired his use of inks and paper (L. Yang, Henri Michaux et la Chine, Paris, 2006, p. 61).

His works investigate psychological landscapes, sometimes influenced by his experimentation with mescaline, revealing fragmented, hallucinatory imagery that seems to oscillate between figuration and abstraction. These compositions not only echo his interest in Eastern philosophies but also serve as visual manifestations of inner turmoil, moments of clarity, and the indefinable aspects of human consciousness.

His drawings from the 1950s/1960s often feature black ink shapes scattered across the paper, creating dynamic fields which suggest both individual forms and collective disintegration. Each shape appears both distinct and on the verge of merging with its surroundings, embodying Michaux’s themes of impermanence and the breakdown of identity. As Michaux said himself: “I am among those who love movement, the movement that breaks up inertia, that tangles lines, that shakes up alignments, ridding me of construction” (Emergences 44, cited from P. Schwenger, Asemic: The Art of Writing, Minneapolis (MN), 2019).

Belgian-born Michaux was a French poet, writer, and painter known for his explorations of the subconscious mind and the human psyche. He initially pursued studies in medicine but shifted to the arts after discovering a passion for literature and visual art. His poetry and prose, filled with surreal and often nightmarish imagery, were inspired by his complex inner world and disdain for societal norms.

In the 1930s, he began creating visual art, influenced by Surrealism and his fascination with calligraphy, non-Western art, and abstract forms. Much of his visual work includes ink and watercolour drawings, depicting fluid, abstract shapes that evoke psychological states and mystical symbols.

A pivotal moment in Michaux’s life came in the 1950s when he experimented with mescaline under medical supervision, using the drug to deepen his artistic exploration of altered states of consciousness. These experiences led to some of his most celebrated works, a group to which the present work belongs, where he sought to capture visually the mind’s chaotic and fragmented nature to created intricate, tightly detailed compositions. Rather than merely aesthetic exercises, these pieces express a deep inquiry into self-dissolution and transformation, often evoking microscopic or cosmic phenomena. The result is a unique tension between control and chaos, as if the forms are always shifting or on the brink of disappearance, embodying his view that everything, even consciousness, is in flux.

Despite his prolific career, Michaux was intensely private, often retreating from the public eye and resisting labels such as Surrealist. His works have left a significant legacy, influencing generations of poets and visual artists intrigued by the intersection of language, art, and the subconscious​.