In the centre of Cell’s modest white cube is Adam Faramawy’s Violet Like Psychic Honey 2 (2012) a two screen sculptural installation whose ambient, Vangelis-like soundtrack both dominates the room and blends with synthesised chords drifting from Ratté’s separate projection space. The screens sit on two spray-painted plinths whose gradated colours look like details from an HTML colour spectra wheel. Faramawy’s video also deals in abstract space, but is closer to that of the looping world of desktop screensavers. On each screen animated footage cycles through images of crystal formations, glitched imagery, organic shapes and rippling water oscillate against flat washes of too perfect digital color. Again there is a disconcerting air, but this time it comes from the banality of the desktop loop, and the planeless territory of a post-human digital expanse. Still photographs in Berry Patten’s *D (2012), The Dream is Kournikova (2012), and Cornelia Baltes Baccara (2012) also tread the same digital path faultlessly flat imagery, and so it is left to fellow Londoners Jack Lavender and Nicholas Deshayes to rough things up a bit in the material world. Both artists use steel in their sculptural assemblages. Lavender’s Glasses Tree (2012) is a small tree-like sculpture with mirrored shades hanging on each barren branch, and Deshayes' Salts (2012) is a multi panelled wall-based structure. Both works look as if they’ve been shanghaied from the industrial set of a 90s cyberpunk flick or the studios of Josh Harris’s Pseudo.