»Second Breakfast«: Energy, alchemy, and the etching-master

In the labyrinthine heart of the Berlin State Library, we gathered under the guidance of Horst Bredekamp for a special session of our Second Breakfast bi-weekly seminar, dedicated to the interdisciplinary study of energy. Facing an original copy of the ancient book, we were introduced to the enigma that was Robert Fludd. He was a man of many contradictions – a physician by profession, yet he walked the path of an alchemist. He bore the label of an inventor, yet his thoughts were draped in mysticism. His etchings, fascinating in their detail and depth, brought forth a worldview that was as scientifically profound as it was spiritually evocative.

An integral part of Fludd's work was the touch of his father-in-law, Meriam, an etcher of unrivaled skill. His engravings were masterful, balancing the heavy precision of his craft with the ethereal lightness of artistry. His capable hands provided the canvas upon which Fludd's visions took form.

Among the many etchings, a simple black square stood out. The starkness of the shape, symbolizing the "tenebrous and sensory deprivation" of the origin, hinted at the aesthetic ideals of Malevitch. However, on closer observation, each square bore slight variations. The master had meticulously applied Indian ink in unique spirals on each, possibly reflecting the medium itself. In the subtle nuances of the energetic marks defining the black patch, one could see the infinite possibilities of the primordial moment, each square a unique ripple in the grand pond of creation. Here was proof that even amidst the darkness of the unknown, variation, life, and art existed.