Painting, virtual sculptures, technophile hybrids of reality and illusion – Aaron Jablonski has been creating mobile face filters for social media channels since 2018. Sometimes they form a confusing swarm of echoes around a head, sometimes they come as spiky digital punk. His immaterial masks, hovering between fashion and art, conceal as much as they reveal about their wearers.

During a ramble through the forest we see video colour fringes break through the shadows of the canopy. Rolls of thunder and birdsong spread as a deep red pixel moss carpet. Ambient sounds creep up from the distance to filter the visual world. Hallucinogenic data errors drag like scrapers across a discarded layer of paint. The forest becomes a cathedral for the eyes and ears.

An infrared dot pattern scans body shapes to supply system information for fascinating volume images. The space casts are virtual sculptures, mouldable, with unstable aggregate states. DJ Dixon’s “Transmoderna” performance is pulverized to the beats of Mëhill’s track “Through Withdrawals”: waves of millions of luminescent coloured microbodies against a black infinity.

Our hovering gaze circles a free-standing rock on a wide plain. The recording gets stuck. At ever shorter intervals the massive rock formation breaks out of the solidifying background until data smears and artefacts accumulate as fine digital sediment layers and congeal into new formations. The video signal interference acts like a primal force of geological history.

A voice from nowhere proclaims life instructions: “Take a deep breath, say YEEES! … and stop being boring!” But rules and authority gradually elude the anonymous instructor. He becomes a chattering, contradictory flâneur through the universe of his problem-fraught private affairs. Those therapy units have a really sneaky design.

The gaze follows a line of trees and tries to visually order near and distant branches. A jumble of lines sketchily leaves behind what is and sketchily captures what can be assembled from the remnants of perception. Hand-drawn lines conquer the third dimension with digital crackling. A pylon waves its tentacles.

Celtic cult sites communicate effectively with the cosmos, the terrestrial darkness is churned by energy fields and sunrays. Even in one of his earliest works – a video clip for breakcore pioneer Venetian Snares – David OReilly dissects the myth of a homogenous CGI world, revealing the abrasions of a vulnerable digital DNA.

An Instagram user surface ripples, turns into a feedback vortex and attempts to impress in virtual space. Every segment is an aesthetically arranged repetition. We catch a brief glimpse of the alleged visual content: in a film studio, equipment and a white background are lurking for their photographic object. Absence is staged as a motif that feeds the vain social media channel.