The rise of new image-making tools is reshaping how images are produced, seen, and understood. Visual production, once governed by a fragmented system of stakeholders, is now entering a new era: one where the playing field has been leveled, where crafts and careers are starting to fuse, where new hybrid practitioners are starting to emerge. Image makers, CGI artists, AI artists, those who are self-taught... Those at the intersection are claiming their place at the core of the creative process and participating in the creation of new, innovative visual narratives and story-telling.

We then question ourselves: What can be born out of this hybridity? How can it fare in today's industry? And where would we wish for it to be headed?

Within this shift in the digital world and at the intersection of this industry convergence, R26B arises from our merging—Rémy Bourçois and Jean-Baptiste Krauss. Unifying our technical and creative skills, we are multidisciplinary makers, experimenting across image-making, computer-generation, photography, video, direction, artificial intelligence, and live experiences, fully embracing this fused era. Gravitating with the momentum of this new development, our practice intervenes in physical and digital realms, wielding every available technology and format.

Our prototype project, Godspeed, exists through two manifestations. First, through collaborative work around the Godspeed chair—designed by Jean-Baptiste Anotin, founder of Waiting For Ideas—carrying our own imprint. Secondly, through an experimental film featuring the chair alongside a constellation of symbolic figures. Both become not only embodiments of R26B’s ethos, but also statements about the reality of the industry, an ode to fusion. The one between us to create our own studio, the one between technique and creativity, the one between R26B and Waiting for Ideas—two parallel systems, working as one.

The film presents three main metaphors: the double-headed Dog, a chimera representing the merging of creative and technical skills; the Human fusing with himself, hugging himself, just as we fuse; and the Godspeed chair, portraying the amalgamation of different disciplines of design into one. The three figures intertwine throughout four sections, envisioned as sentences that, together, push the narrative forward.

Godspeed is a manifestation of our practice, resonating with the state of the creative industry, crafted as a non-linear, segmented film blurring the boundaries between fact and fiction, vision and execution, material and digital.