This essay places Nishida Kitarō in dialogue with Maurice Merleau-Ponty regarding motor-perceptual aspects underlying their theories of artistic expression. The analysis begins by comparing their interpretations of negation as articulated in their later works and seeks to understand their poetic renderings of artistic practice as proposing a mutual and reciprocal form of negation. By analyzing their conceptions of negation as implicit to their depictions of artistic expression, this essay looks to expand their concepts of negation from a perceptual to a (...) motor-perceptual form of negation. Just as perceptual negation results in a multi-perspectival form of perception, motor-perceptual negation renders motion as a multi-volitional event outside and beyond the individuated body, and diffused throughout the motor-perceptual fabric. The artist is an exemplar for both Nishida and Merleau-Ponty because of their ability to create works that express themselves within this form of motor-perceptual negation. Doing so, expressing oneself as a motor-perceptualy negated body entails a bodily form of faith. This study thus expands Merleau-Ponty’s concept of “perceptual faith” (foi perceptive) to disclose its implicit motor aspects, while demonstrating how the expanded conceptions of expression and negation resonate with the faithful form of expression put forth in Nishida’s concept “interexpression” (表現的関係). (shrink)