Two allusive, elusive, dark and deliberately ambiguous black and white video projections dominate Sharon Kelly's new show. In one, the camera peers down a dim hospital corridor made sepulchral by having been shot in colour, then later returned to black and white. As the loop rools on, the image changes to a medium close-up of a seated child oscillating, encased in one of those old-fashioned crate-like swings beloved of Victorian public parks.
In a separate dark space, a number of digital camera images of a sleeping child's head are projected almost but not quite in sequence to lend an illusion of stills. Thus the artist offers us a hunk of bonjour tristesse as she meditates on mortality, on ageing, and on the childhood to which there is no return.
Until February 7th.