This article addresses the figural dimension of Gilles Deleuze’s thought in terms of the twofold relation of forces aligned with the dualism of figures emerging in the visual image. The drive towards the differentiation of haptic figures provides an insight into the anti-representative approach to figurative clichéof painting to reveal the crucial tropes of figural presence and the profound understanding of Deleuzian decentration by addressing the inner context of his writings and external writings commenting on his thought. In this essay, I review Deleuze’s argument, his use and critique of Riegl, the central place of what he calls hapticity in this vision, and consider his attempt to illustrate what this “sensation”might be.

This article addresses the figural dimension of Gilles Deleuze’s thought in terms of the twofold relation of forces aligned with the dualism of figures emerging in the visual image. The drive towards the differentiation of haptic figures provides an insight into the anti-representative approach to figurative clichéof painting to reveal the crucial tropes of figural presence and the profound understanding of Deleuzian decentration by addressing the inner context of his writings and external writings commenting on his thought. In this essay, I review Deleuze’s argument, his use and critique of Riegl, the central place of what he calls hapticity in this vision, and consider his attempt to illustrate what this “sensation”might be.