The photographs in this exhibition seem to share the same fractured view of reality. What is fascinating is that within the general air of ambiguity, the subject matter usually remains visible enough.

Specifically then, it is the manner in which the four artists have isolated and arranged their imagery which creates the visual camouflage. Tom Gleeson's photos of film projections and a TV screen proffer an undisclosed narrative where the actions of the on-screen figures become increasingly unnerving. David Philips shares a common interest as, like Gleeson, a number of his photographs are taken from within a moving car. In both, there is a brilliant arrangement between the boldly composed interior structures and the ghostly exterior views rushing by.

Aaron Plant's images are, in visual terms, quite graphic, as the objects are centrally arranged on a sterile white background. This clinical presentation accentuates the theme of "sex toys" - where the elaborate devices selected by the artist include at least the one red herring of a washing-up glove folded inside out. Paul Rowley's adventurous formatting of printed CDs has created the largest work on display. The arrangement is disorienting, so much so that what appears to be blood draining down a plughole cover, could well be a wildly inaccurate reading.

This challenge in trying to work out the image is the key to the artist's success, as photography is a medium which suffers from over-saturation. Being forced to disentangle the imagery serves only to draw you deeper into these challenging works.

Runs until 27th January