KEITH ARNATT'S photography zooms in on crumbs of cultural detritus: jam smeared teddy bears, blocks of crumbling stone, grotesquely battered toys and lately cast concrete dogs. Bringing these objects home to his garden shed, Arnatt props them on a tin can pedestal and shoots them, feebly lit by daylight.

The results are large scale colour images which, through their very existence, seem to return the scarred, damaged and discarded items to a st~atus they have somehow lost. As in the work of Mike Kelley, these trash can resurrections - even the very act of seeking out the "dirty" and the abject for attention seem to have strong metaphorical implications.

The grinning stone mongrels, paint encrusted cans and discarded rubber gloves seem to be offered here as steps towards developing a broader consciousness of a world around us.