--e- Ee--e-e--

Fred Eederkens, "A very short story"
His name is all e's for vowels and r's in each half. No letter dares to jut below the imaginary line that holds the letters in line, so there is a straightness to it. The name. His name.

But not the art.

It is about twisting and bending, about creating shapes that will write something in shadow upon a plane, a surface flat and plain.

There is a disjunction, a discontinuity, between what we see, its two parts: between the chaotic twistings and the stylish longhand that rests upon the wall. The photograph must be taken from the side to allow us the conflict of sight.

We might not, ourselves, alone, left to our own feeble devices, be able to imagine this text because we live in a three-dimensional world but we see and think in a two-dimensional one.

In our world, there is no understandable connection between the loopings of metal out of the wall and the gentle loping shadow text on the wall.

We cannot understand how the real thing, the hard and fast metal, could not be the focus of our eyes, how the shadow can take such an uncharacteristically prominent role.

How does the static of this twisting metal become a message? How can shadow become ink? Is the message vague and unclear, or perfectly clear in all ways?

Can we tell why the source of the message can be chaos yet the story clear?

Who are we to ask questions?

We are the watchers. The makers make us watch.

Fred Eerdekens, "Something vague and unclear"

ecr. l'inf.