Primarily, the material aspects of the Ship of Fools Project include: the carving of a figurehead out of marine foam, painting on the 22-foot main sail with non-linear visual poems, the invention and visual rendering of a flagging system created on the jib and as flags on the boat, the invitation and inclusion of the names of the ‘ship crew’ rendered in embroidered patches backed with encomia, a collection of paintings on oyster shells housed in the berth, which culminated as a performative anchoring of the work on a mooring ball at the National Yacht Club, situated in between the Island Airport and Ontario Place, as well as an official sail in the Detroit/Windsor area for Media City Film Festival. This project is multi-disciplinary but also considers the challenge of interdisciplinarity as it strives to find a way to balance a creative writing practice with a rich and multi-pronged visual practice—without resorting to simple presentations of images and text. The Ship of Fools Project is a visual poem, as well as an act of story telling, which collects imagery from the research of the project and allows for these images to respond to each other. At times they collide, or even contradict each other, creating a palimpsest not unlike the way barnacles overtake the objects that come in contact with the sea. It is difficult to say that the formal aspects of this project are simply visual and written, as the layering of each image, along with the application of poetry— or poetics—renders the Ship of Fools Project as a multi-sensory, performative, submersive work that blurs the boundaries of each element used in its creation. In this sense, it has become difficult to section off the disciplinary concerns that make this work interdisciplinary. All artforms strive towards an explication of the liminal. They reach in the same direction in tandem, and have the same aim. Their palimpsest and proclivity towards intertextuality creates a sought after confusion.