Manifesting the Immaterial
Had you ever thought what actually the wind is? You can’t touch it, you can’t smell it, you can’t even see it, so how do you describe it? Gazing at a windy landscape provides a rather curious insight — wind is not something physical, by looking at it from far you don’t feel any physical sensation. It is the swirling forest, waving fields and drifting clouds. It is something immaterial, while humans are creatures of the physique, wired to exist and understand something what is touchable, hence immaterial objects appear not as themselves, but as the results of various effects they cause.
Now tell me then, what art is? Off course, we could start browsing through thousands of books without coming to any solid consensus, but looking at the very roots, it unarguably is a result of an artistic creation. And here you can’t see the artist, he is hidden underneath the layers of multiple metaphors which the artwork is constructed of. Here the artwork is a forest, performing a sublime dance with waves of air, and thus artist is the wind, steadily moving through the landscape, gently animating all the nature with an invisible touch.
As David Walsh puts it, process of culture is functioning as an interconnected trinity: there is artist (an abstract medium with prophet-like abilities of conveying complex meanings via simple metaphors), artwork (the materialization of artistic creation, a matter imprinting the mind of artist), and the spectator (who acts like a flashlight in a dark room, making the artwork visible). None of them can exist by themselves, they are completely dependent on each other: without artist there is no artwork, hence nothing to spectate; without artwork the concept of artist loses its meaning; and without spectator there is no one to interact with the rest of trinity, since he is only one active here, the only one projecting metaphors into verbal, hence making a passive matter — the artwork — speak. Spectator is responsible for creating this trinity, he is like the sun which shines upon the landscape, rendering the wind-forest interaction visible. Therefore the artist, who is hidden behind the artwork, can be described as a transcendental creation of a spectator.
Who is Edward von Lõngus, you may ask? You can describe him as a mysterious artist, a character who both has no birthday, and is not going to die, who might be a time traveler playing with primitive humans, or a result of Chernobyl accident — a creature capable of only single method of communication — visual metaphors. Let your imagination flourish when you think of him, because you can’t touch nor see the Edward, just like you can’t touch the wind, he is only visible through the artworks he produces, and is only sensible by the social effect his works generate. He is a product of spectators’ minds, a concept, a shapeshifter who is bound to exist as an abstraction incapable of any physical manifestation.
And thus it happened… Once specific conditions were met, he popped into material existence within the depths of abandoned factory. But the manifestation was unlike anything you would expect…