Copying has been the defining component of the apprentice-mentor structure since the birth of art production. The relationship was successfully completed when originality became discernible in the hand of the apprentice. My earliest apprenticeship was with a newspaper, pen, and paper. I would tirelessly copy political cartoons depicting Nixon, Reagan, Castro, and countless others, with slight understanding of the historical significance and intent of the author. This method evolved into a personal narrative, born in reaction to a lack of resonance with mainstream conversations. I compulsively engage with appropriative practices as a mode of investigating personal and cultural identity, placing marginalized identities in the center or skewing that axis. I believe that self is produced through of a series of assimilations and rejections of the attributes of others. Therefore, via a complex cultural vitamin of consumerism, social signifiers, parentage and educational guidance, a self is formed. My work seeks to pull back the foggy membrane of collective and individual history to construct narratives about “other” and how we are located in cultural space. I use appropriation as a frame story, position myself as a mirror, or mise-en-abyme, to reveal the way subjectivity is crafted, controlled, and consumed. These frame-within-a frame scenarios attract with the familiar while using authorship to twist the perspective of the viewer. The aim of this practice is to reveal the connective tissue that bind us as humans regardless of race, religion, class, gender and sexuality. These carefully constructed frames are built to weaken the system by recalibrating and recirculating the familiar narrative through a queered lens. These acts of appropriation are prescriptive; they unmoor the structure of identity to which I have felt victim, just as a small dose of a disease can also be a cure.