About

Welcome to Glitch Studio

Hi, I'm Aaron, the artist behind Glitch Studio. My work explores distortion, memory, perspectives, individual interpretation, and images as unreliable narration. My glitch process turns fragments and imperfections into vivid, unexpected art. 

My Story

I began my artistic journey in earnest in 2017 while at the Glasgow School of Art in Scotland, where I was studying for my Masters in Architecture. I first explored distortion as a way of removing the artist as narrator, giving up some autonomy to allow a non linear process to emerge. This lead me to also start exploring my work as a way to describe memory’s shifting nature. Inspired by bold, graphic artists like Felipe Pantone and the surrealist landscapes of Georg Guðni, I developed a practice that transforms fragments and imperfections into vivid, living works. The process developed over time  and is always evolving. It is what I use to turn the unstable into something beautiful.

What I Do

I work with glitch as both process and outcome, using distortion to break apart and reassemble images in unexpected ways. My work is process based in that I do not know what the final piece will look like when I start. I allow the process to guide me and inform the final outcome. My pieces strip away preconceived perceptions, revealing new forms that challenge how we see, and hopefully interact with, the world.

What is Glitch Art?

Glitch art uses a mix of standard software and more experimental tools to create and manipulate digital errors. Artists often work with programmes like Adobe Photoshop to control colour, layering, masking, and compression. File formats themselves become tools. By repeatedly saving and resaving images as JPEGs, or by opening image files as raw data, the structure begins to break down and produce artefacts.

Other techniques are more specialized. Pixel sorting rearranges pixels based on brightness or colour values, creating streaks and directional distortions. Databending involves opening image files in non-image software, such as audio editors or text editors, then saving the corrupted data back as an image. This introduces unpredictable shifts in form and colour. There are also custom scripts and tools, often written in environments like Processing or Python, that automate glitch behaviours or generate patterns through controlled rules.

In my work, I use a combination of these approaches and am exploring more methods including Touch Designer and After Effects to create spatial environmental installations. Photoshop also plays a central role, especially for layering, compositing, and guiding the overall structure. Alongside that, I use pixel sorting and compression techniques to introduce disruption and corruption. I often push files through multiple rounds of saving, exporting, and reprocessing, letting each step degrade and change the image further.

The tools aren’t used in isolation. What matters is how they interact over time. Each pass creates new conditions for the next, so the image evolves through a chain of decisions and system responses. The process stays open, and the final result reflects both deliberate control and the behaviour of the tools themselves.

Get in Touch

I'd love to hear from you! Feel free to reach out if you have any questions about my work or if you'd like to discuss a custom project.