Annabel Elgar's photographs present an imagined archive of retreats and hideaways. Lodged somewhere between fact and fiction, they read like a fantasy labyrinth of oddball activity, conjuring up stories of human relationships, betrayal, hurt, loneliness, sadness and desertion. These 'human dramas' often allude to contemporary events of surreptitious exchange, where issues of counterculture and collective withdrawal are predominant. The doomsday cult in Russia who withdrew into a cave for the impending Armageddon or the creationist teacher who, supported by his army of followers, branded crosses on to the arms of his pupils with an electric coil, offer an insight. However it is not just the collective agenda that is at stake in these gothic vignettes. Elgar's work explores themes of individual identity too. The characters (who are often absent in the final image) have laboured lovingly over hand-made puppets, bread sculptures and other strange contraptions, presenting a world of endless production. In this pattern of hoarding and protecting, such ritualistic behaviour remains constant. Elgar's vision is gently poised between the fairytale and the everyday. Conceived as 'staged' photography, her work is peppered with carefully honed details that present an endless proliferation of narrative possibilities.