Drawing on found photographs from private family albums and the public realm of the internet, the paintings of the Czech-British artist Anastázie Anderson possess an intimacy – even a tenderness – that belies their large scale. Here, we see images of Anderson’s mother as a young woman, the artist and her sister as children, and an unknown Czech boy from the 1930s, who peers out uncertainly from beneath a broad, vaguely military cap, as though anticipating trouble to come. The sense of different eras converging is driven home by a painting of Prague Castle, a complex of buildings that gathered together between the 9th and 19th centuries. In Anderson’s depiction, this huge edifice resembles an architectural model, or even a doll’s house – a space where time is suspended, and fantasies are played out. If Anderson’s show has a presiding spirit, then surely it is the Siamese cat who was her household companion through her childhood and adolescence. Gazing at us through its crystal blue eyes, it is an unknowable animal consciousness, a being beyond the human temporal realm.