"It has rightly been said that Raedecker's paintings are 'unsettling': we do not readily comprehend what is actually happening in them nor do they offer us an ideal viewing distance from which we might feel that the image coalesces into an accessible whole. The paint, the various kinds of threads, and the other materials sometimes pasted and painted over, work at cross purposes. At the distance where for example, the paint still yields an immaterial 'image' and forms readable figures, the threads already break away from the whole and turn into 'wool' and 'hairs' that undermine the image. On closer examination, loose hairs and threads stuck into the paint, along with protruding lumps of paint, evoke miniature landscapes, which then again approximate the complete image first seen in the painting, and so on."
B. Verschaffel, "Dirty Pictures", Parkett, Zurich 2002, no.65, p.98.