In: Perfectly formed in miniature.

Dolls houses are to me still as magical now, as when I was young. Every so often I visit a museum or a grand house which will hold a fabulous miniature mansion. If I'm especially lucky, the dolls house will be a replica of the building it stands in, at least on the outside. Call me fussy, but opening up the front wall is always a little bit of a disappointment as the bathrooms are never in the right place, there is a distinct lack of carpet and the dolls themselves always a little stiff. One will also find furniture of slightly odd proportion, and a plate of plaster cakes which would only seem size suitable in Texas if it's proportions were correct. There are also as a rule, a large number of ladders belonging to the dolls houses of England, none of the miniature people seem to appreciate the idea of stairs.

This excitement was easily sparked again upon entering the Charles Matton exhibition at All Visual Arts. This time however, I did not step into Georgian England and plastered cakes. Instead we went to New York and into the artist's imagination, and it was pretty damn cool, if one can say that about a dolls house. The experience became that of Tom Thumb crossed with Tracy Emin. An unmade bed, a baring of the artist's soul in the portrayal of his studio, the presence of pop culture and grime.

There was a distinct feeling of nakedness aroused in the exhibition. What must it be like to construct your life in miniature so that you can examine it in a god like fashion? Recreating your own world so you can look down on it and hide nothing in the subconscious. We can all take photographs of our homes and lives, and remember it in video, but to build an empty miniature model of my bedroom, cigarettes, underwear, handbags and all- it is super control. In these miniature sets Charles Matton has examined every physicality of his domestic life, realising each of the objects in it's own banality and all its beauty and ugliness. The outcome is fascinating.