Deciding what not to make is sort of essential if you want to get any one thing actually made. There's a big, delectable smorgasbord of potential projects and processes out there and as much as I'd like to throw a clay bowl/solder silver jewelry/silk-screen/arc-weld/blow glass/wood-turn (etc.) I need to stick to a diet of work that moves my major focus forward. So I resist the temptations of reconnecting with my old Pentax ME SLR camera or singing in a group, but I do allow myself to collaborate with other artists on smaller, ongoing exercises that push my fibre/pattern-based abstraction obsession.
Which is how my friend Val and I got the idea of starting Co-Lab a couple of years ago. This involves us each doing something to a 12-inch-square wood panel, then swapping panels so the other person can add (or take away) an element or layer, then swapping again. And sometimes again. Sometimes we go too far, and there's no going back. They are un-pre-mediated and rarely pretty, but who said pushing one's comfort zone is pretty? The results are often quite monstrous, as illustrated here with a panel we called "Monster":
Currently I'm collaborating with two other groups of artist friends. Mixing sculpture, painting, drawing and assemblage are not always easy, but there's something to learn in each of those mash-ups.