Annabel Elston’s photographs reveal a shadowy truth, where private moments appear in public places.

In Elston’s work, individuals drift in the street, seemingly unaware of their surroundings or her presence, neither looking into the lens nor averting their eyes. The expressions stamped on faces appear transcendental, but the emotions are concrete. Working in this manner, the photographer sees the world constructed not with walls, pavement or buildings but with an architecture of emotions. Elston gives us proximity beyond mere observation and we become immersed in the subject’s thoughts and decisions. The strangers are seductive and their anonymity enviable.