Alice Anderson and her looking glass

It is rare to find such precision and originality in the work of a contemporary artist as one does in the fragmented fairytales of Alice Anderson. The 33-year-old London-based French artist, who is instantly recognisable with her long red hair, has shown her films in the Tate and the Pompidou and last year held simultaneous exhibitions at a trio of national French museums, in which she laid out more than 3,000 metres of autobiographical red hair through all three spaces in a gigantic installation called Rapunzel.

In David Gryn’s temporary Knightsbridge gallery, she works to a more modest scale but to no less amazing effect. Upstairs there are a series of maquettes as delicate as they are extreme. A tiny self-portrait of a doll with long red hair lies face down at the bottom of a phallic cylinder of white leather punctured by hundreds of tiny white pins. At the base of another transparent glass cone lies another half-visible naked doll, shrouded in ghostly white cotton wool, on a bed of white quilt. Around the walls are drawings in blood, some of which are of medical instruments, while others appear abstractly sexual.

Like her fellow French female artists Sophie Calle and Annette Messager, Anderson’s work is saturated in psychoanalytic reflections and carries an aura of unflinching self-examination. Her themes? The vulnerability and violence in the feminine psyche.

Downstairs you can see the latest of her short films of self-written fairy stories; the story of a girl searching for her name, who becomes a life-size doll in her father’s hands before herself destroying Barbie dolls in the likenesses of her parents. This is like video artist Matthew Barney meets minimal surrealist Robert Gober — only the miniature female version.

Until 31 January. Information: 020 7584 0717, www.artprojxspace.com.

Alice Anderson: The Dolls' Day
Artprojx Space
Beauchamp Place, SW3 1NY