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“The work from the show hovers in a weird space. A kind of bubble gum apocalypse, a friendly dystopia, it’s Disney meets the war machine. Existing as a form of cartography, the series combines to produce a dreamscape universe where things are fine, dandy and sparkling but also suspiciously wrong, disjointed and somewhat sinister. It’s a world joyously overrun with hyper-coloured pop iconography, organised through the guise of scientific planning. The patterned landscapes are created through an internal logic of growth, speed, and replication. Things just float, unanchored – a network of connections unto themselves. In this world nature is everywhere and yet nowhere to be found. There’s something vast and complex about this space but simultaneously simulated, like a computer game. There’s a glitch in the system, things repeat, a fractal deja vu. Everything has become self-enclosed and self-referential: a circuit. A reality where all problems are beyond the screen and consequence has ceased. The work is made up of sets: sets within sets. Distinct, yet always implicated in the other, nothing is separate or independent,” Jacob Leary, 2013.