IN Jaki Irvines intriguing lo-fi video, Eyelashes, even dawn breaks with unaccountable menace. Or is it promise? Certainty, it seems, has no, place in this fascinating work for Irvine's art is driven not by creating thunderous statements, but by manipulating the skills of showing and not showing, saying and not saying, meaning and not meaning.

In the darkened foyer of the Project a large video projection fills an entire wall with an image of the white light of morning hanging over the roof of a terrace of redbrick houses. The frame holds for a moment, then switches to an interior.

In a kitchen, a man and a woman sit at a table, having what possibly amounts to a conversation. Their lips move, but on the soundtrack we hear music and a monologue in the accent of an East European woman. The voice describes a man describing a woman or, more pointedly, a woman's eyelashes. For, in Shandyian fashion, the man becomes "stuck" on this single aspect of the woman, attempting to refine a description which gradually becomes more explanatory of himself and his thought processes than of the woman, or her appearance.

Eyelashes is a video which remains exhilaratingly idiosyncratic without ever becoming evasive.