Events like the Baja 1000 require a two man collaboration to complete; one driver and one navigator. It is this analogy that comes to mind when considering the execution of this work. Here the driver/navigator relationship has a greater fluidity, if only because there is no confinement to seats with restraints. It is a challenge of steering a work through levels of momentum down a course of determinations where the changing of one's mind isn't entirely up to oneself. When the road appears washed out there are critical and exciting decisions about to be made.

It isn't a taskmaster to present drastically different styles in apparent juxtapositions within the same piece. Rather, the course a piece makes is preceded by, and conducted during conversations. A conversation may be directed at considering compositional and narrative strategies, but moreover they interrogate interests, values, consumptive patterns, desires, humor, acknowledged punch lines, and limits of respective knowledge bases. Through language, a conversation reveals information that is at once available for evaluation, containable, and transducible to visual information. As an image/value is revealed it is applied. As an image/value is applied others will invariably reveal themselves and be folded into the previous and the next.

In some cases, scraps of collections, fragments of projects started, and material accumulations are brought together for unbelabored consideration. The disparate, the similar, and same are arranged, assembled, cut, reassembled, cut, re-arranged and so on. One artist makes a form, and for the most practical reasons, leaves it in the studio to be found by the other who, without question, impinges on the direction, development, and presentation of the form and leaves it again for the other. In this light, a piece may be seen as a kind of transcript of the recursive process whereby the same information will go through a given process resulting in versions of itself until the final version is arrived at.

This combinatorial process of wresting and folding of information engages devices that might more commonly be observed in other collaborative forms like music or film. There is often a "call and response" dynamic which may also draw from, and incorporate from collected source materials akin to sample data. The visual edits function like the film cut where one flow of information is stopped, meeting another element that steers the information along a course.

The new forms are generated in an open system of material inputs, application of technique, understandings and available technologies. What is at stake in this process is not only the maintaining of criteria for compositional, narrative, and mechanical functions. It is also the aleatoric process itself that determines the course of the piece which is at stake.