Critiquing the omnipresence of social media is like asking a Kardashian to delete their Instagram: fruitless, impossible and boring. We watch videos that encourage human interaction yet we share them on Facebook, lusting after likes from people you haven't caught up with for years. When that best friend of ours from the seventh grade gives you the thumbs up, we embark on a stalkerish adventure on their profile. "Ah, they're engaged. Oh, they've been to a trip around the world. What am I even doing with my life?" we think and crack on with another episode of House of Cards or any other programme we've seen being posted about by our online friends. The ambiguous feelings of jealousy are born out of the digital presence of an old friend. Our inner emotions become digitalized and our presence becomes symbiotic with our newsfeed. Can we escape from this? This is one of the questions curators Tilly Heydon and Catrin Podgorski discuss in their latest post-internet exhibition "And How Do You Feel About That?".

Entering AHDYFAT is like getting a backstage pass to the collective mind of the generation Z. The curatorial aesthetic is an overwhelming cocktail of bold colors and mediums that demand to be noticed. The white cube presence of the gallery space creates an aura of prestige around the works of the eight UK-based art graduates showcased in the Heydon and Podgorski's exhibition. When entering the exhibition space we are greeted by Ben Lord's comedic approach on painterly craftsmanship. The abstract form takes an anthropomorphic in Lord's works that follow the life of the "Mr Painter". The square-shaped paintings frame the life of an artist in a highly self-reflective way that makes you question the dull banality of our Instagram feed. Located in the entrance - that also functions as the way out - Lord's satirical work introduces us to the ironic (and moronic) existence we inhabit within the social media sphere.

In the main exhibition space, we are welcomed in by Benjamin Arthur Brown's piece "Oh My God" which intellectually summarizes the banality of our online presence and the kitschy artificiality of our social media behavior. Playing with the ideas of postmodern consumerism and pop art legacy of the likes of Roy Liechtenstein and Andy Warhol, it challenges us to approach its message in a highly conceptual way. The loud intellectuality behind Brown's work finds its counterbalance in the beautifully simplified works by Sarah Powell and Niamh O'Brien. In Powell's work, the canvas becomes an abstract reflection of human emotion. The canvas is gruntled, depending on the nature of the emotion it is projecting. In "Embarrassed", the viewer encounters the melting canvas covered with black glossy paint. It forces us to face our own reflection morphed within the painterly embodiment of our emotions.

Niamh O'Brien simplifies our personal encounter with art. Highlighting the formality and structure of the painted canvas, her equivocally titled work "Painting 1" encourages us to reflect our interpretation of the work in a highly personal way. The radiant use of color introduces us to O'Brien's brilliant curatorship of color that is both controlled and chaotic. The lack of pretense that surrounds her work reminds us about why we want to look at art. We want to enjoy it. We want to escape. We want to immerse ourselves in colour and texture and forget about the world outside of it.

What Heydon and Podgorski have created is a haven of digitalised escapism. It does not take itself too seriously yet challenges us to approach art more conceptually. It allows us to look at art with child-like enthusiasm that is free from stuffy pretentiousness of the art world. It is a collection of works that critique the digitalisation of our lives yet it is filled with satirical self-awareness.

Now then - let me just Instagram how much I enjoyed it.

"And How Do You Feel About That?" is open till 28th of November at The New Schoolhouse Gallery in York. Find out more on the exhibition's Facebook page.