Objectively, Edgard’s tables do nothing, they are static sculptures built by the artist in the position - or movement - that they sustain and will sustain forever. Yet, who can deny that they are, first of all, tables and therefore always interpreted in comparison with its archetypal position, its orthogonal “tableness”, useful and reliable? The instant and involuntary confrontation between the sculptural making and the banal object referenced by the materials, techniques and typologies used by the artist is not only primal to these works, but for all his production. excerpt from “Ele pulsa por você”, de Paulo Miyada. 2016
