Lake Verea

lack square. Not the one Kazimir Malevich painted in the second decade of the past century, but the one British physician Robert Fludd included in his 1617 treatise, (Metaphysical, physical, and technical history of both the macrocosm and the microcosm). In the book’s fourth chapter, a square, not totally” (And so on until infinity) on each of its four sides. Fludd describes this illustration as showing, “in the form of an utterly black smoke,” the raw material of the universe “without dimension or form, without color or perception, neither still nor in movement.” This black square exceeds the limits of representation. Perhaps like Malevich’s, it presents the point, first, where the representation turns into itself and, second, where it exceeds its limits into infinity.