Sometimes it’s about time. When the completion is dictated by some kind of deadline-based condition, then I feel like I know it’s done when there’s the right balance of things in the work. Sometimes that means having to remove a chapter or a figure or a whole set of ideas from the work because there wasn’t enough time and space for all of those things to be treated with equal sensitivity and care, or because keeping every element in the mix would obfuscate or dilute what was at the core of the work. To help me arrive at a state of “doneness” or resolution, I do have a few people that I trust and share my work with. You have to be able to take criticism, ideally from comrades and colleagues whose values are aligned with yours. It’s not just about what it looks like, but trying to understand how a project can help me evolve larger guiding principles.

I keep messing with it until it gets to the mix table. Sometimes you can’t just change the whole song, but maybe I can change a verse in the very last moment or a chord or the introduction to the song, or the song’s order, some fade-ins or fadeouts. It’s a tough process letting go, saying, “This is it. It’s going to be this way. There were multiple choices, but we’ve chosen this one.” But it’s also a relief because it means you stop wondering. You stop thinking about it and you just let the songs find their own way and say goodbye to them and hello at some point because you’re going to start playing them live and it’s a way to actually get to know your song once you finished it. I usually know. It feels like a release to let go of a song.

My pieces are never done, at least for me. It’s an open-ended inquiry process driven by curiosity. I might have a sense that a piece “is completed” for a premiere, or for a showcase, but there’s always the possibility of going back and revisiting it, and I think leaving it open-ended is also a way for me to keep my sanity.

Well, Tour continues because I exhibit it with a growing archive of performances. For instance, I have something upcoming that I’m working on at Pioneer Works with Stanley Love and his dance troupe. It’s exciting, and it keeps the project present and alive. So this particular project, Tour Without End, becomes self-fulfilling.