William Eggleston

William Eggleston put paid to the debate over whether colour photography could be fine art back in the 1970s, by applying a painter's eye for saturated colour, composition and light and and a poet's sense of mood and melancholy to details of the abject and everyday. He's still proving the point with this selection of images taken over the past ten years.

Captions reveal that these 22 photographs were taken in locations including New York, Paris, Kentucky, Mexico and Mississippi, as well as Eggleston's hometown of Memphis. But the cluttered and ageing interiors and exteriors or the contrasting surface textures and colours of walls, windows and patches of ground could have been taken anywhere; like the close-up inside an old freezer, the striated layers of icy deposits gradating from subtle hues of greeny-blue at the top through to orange, like mineral deposits in an underground cave.

When people appear in front of Eggleston's lens (there are only two) they can seem equally otherworldly. A woman bent over wiping a white van is shot from an angle that foreshortens her to an anonymous blob on legs. Her most prominent feature is her elongated arm doing its job. In the second image - a portrait of a young woman looking into camera - she is shown crying. Eggleston portrays her distressed face in exactly the same way as the distressed surfaces of wood or metal in his other images - both messy and beautiful. But there's a subtle humour in there too. We don't know why the woman is crying, but on a poster on the wall behind her the just-about-legible word that emerges is 'BLUE'.