Povey and Schultz design their paintings in their heads, aided by copious notes and discussions spanning months. They handle about a hundred potential designs at a time, all rising and falling in likelihood as they pass through their notebooks. They have around twenty models whom they have found and used in unorthodox photoshoots, gathering and then sifting images which speak to their potential designs. The images are warped, enlarged, printed, torn and applied to their panels, before being acrylic glazed and over-painted or over-written. The British-American Duo like their art to have a wordless and liminal solemnity. Despite that goal, they use writing both as visual mark, and as an echo of the subconscious. Reminiscent of the experiments of William S. Burroughs, they take their voluminous studio writings, cut them up, shuffle and reassemble them to produce verbiage that is no longer literal, but which has a sense of the psyche. In search of a child-like unself-consciousness they often work blindfolded and with their non-dominant hands, in search of a new breed of purity. This is gradually bringing them full circle, they contend, to pure abstraction.