The letters A, C, G, and T appear in numerous places throughout Body Errata, a direct reference to the artist’s personal DNA sequence. Each unique sequence of bases directs the production of proteins, proteins that make up each of our bodies (mine, yours). Our bodies contain embedded code that is passed down through generations of captivity, migration, and traumatic events. The process of copying and recopying is long, slow, and inexact – there are always errors. Pixelated images, corrupted files, repetition with the occasional jarring difference. Cut and paste. Chop and screw. The process of inheritance is always in flux. As its constituent parts are eroded, broken off, replaced, the true nature of the thing itself comes into question. The ax’s handle and head have been changed out many times over the years. Every plank in the ship has been switched out for another. We don’t need to view this lack of fidelity – between original and copy, ancestor and descendant – as a lack of authenticity. It might represent an opportunity; at the very least it’s antideterministic. So the work is mostly considering information changing forms, the relationship between data and form, material that becomes immaterial and vice versa. Cultural and material inheritance. Like this process that happens over many generations that eventually creates mutations, gaps, décalages. How the noise in the signal produces new systems; how the nature of a thing is not consistent through time, but actually full of these mistakes or inconsistencies, and through these inconsistencies we find a certain kind of generativity.