At the end of 1979, Flaxton, Deadman and Cooper had grown tired of the limitations of the English Documentary form and had decide that ‘The only documentary thing that documents, is the attitude of the maker to their subject at the time of making’. They had previously experimented with breaking the form apart in ‘Money Talks’ (began in the middle of 1979), but that project remained unfinished until 1983 – so their statement about documentation was unfinished. The three went to America and began the quest to find the nature of intuition to defeat the idea of intellectualisation or pre-meditation, having identified this element as that which prompted the problems of documentary and its self-referencing. They decided that they had to take this head on and so Vida began looking for their subject in the form that the subject predicated. Due to the form of practice they were then to adopt, their subject became ‘the intuitive’. They crossed America searching in an intuitive act of creative image making, an artistic act of making art and its documentation combined in one form. This was one of Vida’s last works together.
