Sure, I’ve been messing around with that idea. Think about a cracked marble surface, each fissure a pixel gone rogue, then overlay it with a corrupted JPEG—random noise in the cracks, color bands that shouldn’t exist. The physical damage becomes a metaphor for a code fault, a line of logic that didn’t execute. It’s like a virus that infects a sculpture, turning its integrity into a glitch. If you mix real erosion with synthetic error, you get a hybrid that feels like both art and a system failure. Trust me, the more you layer the textures, the more the piece speaks of broken systems and broken art.