We began working together in 1997 after meeting at The School of the Art Institute of Chicago. For us, representational painting always includes a deferred relationship to the painting's event. In this sense we see our paintings as historical and symmetrical to our own relationship to the past-defined by an ever-renewing dynamic between memory, its representation, and the synchronicity brought about in the object itself. Our vocabulary is derived from popular and sub cultures and while we use the oldest trick in the book (mimesis), we are committed to making classical techniques viable options in contemporary art. Our morally ambiguous images of historical icons, sublime nature, and racial stereotypes are from a world where viewing is active participation. Culled images from every source are manipulated: the colors exaggerated and details added and subtracted. We enjoy taking a mundane image and transforming it into something significant and visually arresting. Each body of work is conceived of as a full installation, every object lyrically and poetically related to the others. The collaborative process raises issues of authorship and originality. It allows for a dialogue rather than a soliloquy; it challenges the time-honored image of an individual artist working with brief moments of divine inspiration, and alters the ego's role in the creative process. We trust in the surface of the painting and its ability to mediate the space between what's present and all the meanings brought to bear upon it.