Abstract
Deleuze's critical reading of Bacon foregrounds the relationships between representation and interpretation, thus making Deleuze's concepts applicable to the philosophical reflexion of the theory of painting and its communication potential. Therefore, the chief objectives of the paper are to understand the rhizomatic thinking in the perception of the artwork and to emphasize the problem-riddled nature of the relationship between representation and interpretation in the works of Gilles Deleuze.
The comparison of two actual texts should demonstrate that Deleuze's efforts to use the rhizome concept in order to transcend representation is doomed when limited to the level of immanence. Thus a far more fundamental topic appears - that of the relationship between the level of immanence and the level of consistence.