In Paul Eachus's photoworks there is an overwhelming sense of an absence of a centre, a place to start from which would allow us into the fictive space of the work. There are many centres vying for our attention, many starting points that imply multiple beginnings, middles and ends, all existing in one work at different moments of their individual unfolding. These accumulations and collections of things from different unrelated sources, often objects that have been discarded and abandoned, become the subject of obsessive processes of categorising, ordering and controlling. This activity in itself veers out of control and the viewer is confronted with a series of failed attempts, collapsed systems and an overpowering experience of dis-order. There is a fragility in the way that things come together and hover between stability and disintegration. The photoworks have the look of glossy magazine reproductions, their intense colour reminiscent of contemporary furniture catalogues exerting power, but only adding to the fallacy of the attempt to control.