”ögonen dunkla sin kos, och synen molnar i mörkre”
In Stiernhielms poetry the slow dusk of the eye is an image of life fading away. At each blink we experience this fall of the curtain even if it is as fast as the shutter of the camera.
Without light there is nothing clear or materialised.
Bataille speaks of the violence in the act when the eye turns upwards into the head.
The darkness of the upturned eye is not the absence of light but the process of seeing taken to its limit.
When darkness and light are no longer in a dialectic opposition.
When inversion is complete and total.
A fencer has a better chance of hitting the target if it is in the periphery of the field of vision and not in the focus of it.
In the video Fencer one can see the instantaneous and constant shiftings in the expressions of the eye, a play with attraction and repulsion.
In an earlier work on blushing Staffan Redin investigated how the skin can become a projection canvas for our inner emotions and states of mind.
In these photographs of fencers he studies how the eyes can be seen as projectors or reflectors of our mind and the clouded borderlinestate of gaze and non-gaze that creates a field of tension between skin and cornea.
The unseeing gaze behind the eyelids can show that the most important is always invisible.