The title is inspired in an early theological debate upon the nature or of the Christ, the Nestorian controversy. If Christ was both divine and human in one body, as wine and water, or if these natures were divided, as oil and water in one cup.
The “first” nature is the sensible world, so long perceived in the west as inferior. The second nature is divine nature or the world of ideas. Is there a unity beneath this great polarity? That is not to be answered in theory.
It is also said that habit is a second nature. Something that has been so thoroughly rehearsed that feels almost like a new instinct. In the present work that second nature is the habit of drawing. Drawing is here approached as a way of insight. Any form of practice can serve such a purpose, and it is the aspect that theory often seems to forget.
This work is composed by two kinds of drawings. Some serve as ways to register visualizations, that are otherwise impossible to be expressed in verbal form. Others serve as ways for the learning and appropiation a concept, it is therefore here believed that drawing as an action brings a practical understanding of the depicted form.
This work compiles two years of drawings, selected and arranged into a narrative progression.
The book is divided into three sections, signalized by three obeliscs, an emblem taken from the Hypnerotomachia Poliphili. If put together, their letters form three names of god. These, at the same time, are three letter names. But, as stated by the maiden Logistica, “no mortal could perfectly discern or see simultaneously two sides of this figure, but one at a time, and that is the present.”