The installation environment comprises a group of pyramidic structures set in the middle of a darkened space. These are set so that  viewers can walk around them and view them from any angle. The pyramids are placed on sand, on which are scattered the detritus of the sea - seaweed, shells, twigs, latex sculptures of parts of the human body (e.g. arms, faces, feet, legs).  Sheets of latex in which traces of the harbour (mud, shells, seaweed) are embedded,  are stretched over the structures. These pyramids, along with the sand and the walls, serve as the projection surface for the digital imagery.  Mirrors, placed under the pyramidic structures at different angles, capture and deflect the projection onto multiple surfaces, including the walls and ceiling of the installation space. The result is that the whole installation space is diffused with fluctuating light and colour.

The imagery which underlies the digital projection creates not only the colour and the changes in the quality of the light in the installation, but also the sense of movement in the installation environment. It is derived from raw video footage of the two artists rolling passively back and forth with the waves on the shore of Bosham Harbour as the tide came in, the flow of movement through their bodies echoing the flow of movement of the tide. The imagery is highly manipulated in a video editing packag (see above) and then placed in twos and threes in a custom built programme created in MacroMedia Director to generate an ever changing colour environment. The flow of movement energy in the images, coupled with the shifting light on the surface of the water, generates the drifting flows of movement, light and colour which suffuse the installation environment. 

Five different sets of digital imagery were composed in Macromedia Director, each having a slightly different quality of movement flow, of tone and intensity of colour, and of luminosity. Most of these images were manipulated to enhance the tones of blue (water), only one group of images referencing fire. These sets of imagery are programmed in Director to be accessed randomly, creating a non-linear structure to the appearance of each of the image sets. When displayed the projected  imagery seems to ripple over the pyramidic structures and the surface of the  sand, and is deflected onto the walls and ceiling of the darkened installation space. As a consequence it immerses the viewers as they wander through the installation environment and the constant, subtle shift of light and colour which permeates the space. 

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