If the gallery, like the internet, is the battleground of pornography and cat videos, the zone-three project space plays home to the two’s beastly offspring. Tamsin Morse’s pitifully contorted horse – flopped across a sizable canvas as though between the knackers’ yard and a bougie pet parlour – is this evolutionary line’s apex exponent. His human companions might weep, had they understood that his lot is their very bidding.

Kris Lock’s oil pigments are all over the conservatory, the koi pond, but also the office hot-desking station. Which species is invasive is not obvious in these eerie mistaken-identity film set backdrops. Casper Scarth’s balloon ape, scratched into paper like a Studio Ghibli ghost, deftly predates this apparition’s recent AI meme takeover. Is it too late for the animal, or even the artist to cash in on their first-mover advantage?

This menagerie comes with no humanly comprehensible challenge. How could it? The project casts a barely visible shadow on the suburban new-builds which envelop it. Stuck between the cloud and the pastoral, each painting’s edge becomes a kennel.