DAILY, IN A NIMBLE SEA combines original and "glitched" photographs with code from their digital image files, the interactions among which eerily cohere to create a discourse about photographic perception, information, and chance operations. The title is an anagram of BAILEY ISLAND, MAINE, where the source photographs were taken. In that place, a tiny stretch of coastline is incessantly transformed by the interactions of fog, sun, and tides. When the tide goes out, a rocky field of seaweed is revealed. To walk across it is to traverse the ocean floor in the open air. It is a magical place, and for seven summers the artist has watched his children grow and change against this backdrop. Photographs put up a feeble defense against the passage of time: the still image halts the waves from breaking, only to paradoxically heighten our awareness of their inevitable movement forward. The raw code of a digital photograph also forms a kind of picture, expressed as a field of symbols. Like an anagram, these symbols can be rearranged and purposely disordered. And just as chemicals might form stains on film, digital disorder can create gestural aberrations endemic to the image's constituent material. The resulting publication represents a fantasy of fatherhood, endless horizons, and malleable realities.