Audio: Jonathan Miralda
We see a face about to go through a skirt’s waist. The skirt slowly falls on, over, inside of. The head goes in and out, goes inside, peeps through the waist opening, exploring that edge. We see the neck, the shoulders, the skin. She acts upon the skirt. And what about the camera? Who operates the camera? Let’s think about its location, about its closeness. We are under the skirt, inside a cube, in front of a body, close to the skin, at a minimum distance. Let us notice the shapes that the body creates. Notice the light that is filtered through some tiny interstices. She is upside-down in front of the camera. Feet in the foreground; a little behind it, the knees, legs, elbows, arms, and behind, in the background, the head. Positions that search, repeating the space or adapt to it. We perceive the skin by intuition.
If seeing means, here, to be in front of / under / inside of and if often it means to feel outside of / If seeing from near meant to feel near / If seeing and feeling were symmetrical figures…
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