We were until we weren't

In Annabel Elgars photos there seems to be a clear parallel to film. Her work process is similar to that of a director, who carefully chooses props and locations, and creates unique fragments of space and narration.
03-02-2006 - 26-02-2006
We were until we weren't
Annabel Elgar
In February and March Galleri Image sets its focus on British Contemporary Photography.
From February 4 - 26 we present an exhibition by the English artist Annabel Elgar.
Annabel Elgar works with staged photography in a border zone where daily recognition seems to dissolve into associative traces of psychological undertones that charge the photographs with restless and mysterious tension.The exhibition is composed of a series of photographic works that at first sight appear to be fragments of a larger but non-existent continuum. There seems to be a clear parallel to film, and Annabel Elgars work process is similar to that of a director, who chooses props and locations and creates unique fragments of space and narration. Annabel Elgar's works are not technically manipulated during the process of creation, but are the result of the emergence of the right moment.The photographs can be seen as voyeuristic; the viewer is led into a mysterious, private room that has been dislodged from time and space. The fictive universe often seems filled with abandoned, symbolic "spaces" where human traces scrape their way towards the surface. Abandoned traces and the feeling of ritual events that once took place are common enigmatic threads that are woven as metaphors into the photographs.

Annabel Elgar has previously participated in many group shows in Europe and has held solo exhibitions in England. The present exhibition is her debut in Denmark.
Galleri Image has published an exhibition catalogue with text by Anne Mette Laursen.

Opening: Friday February 3, from 4 - 6 pm.
Annabel Elgar will be present.

Coming in March: EVERYDAY DADA by Sian Bonnell (England).
Seminar: 'British Contemporary Photography' on March 4.

The exhibition is supported by Aarhus Arts Council Fund and by the British Council.