As in Shore Line I, each of the
six projectors carries an identical fifteen foot loop of colour
film, each projector is placed on its side in order to make use
of the portrait format, and no attempt is made to synchronise
The image is of a beach filmed with the camera pointing vertically
downwards at the surface of wet sand and pebbles. Foaming waves
rush across the frame from left to right, then recede back the
way they came, dragging at the pebbles and churning the sand
into new patterns. The lack of synchronisation between the projectors
creates a seemingly infinite variation of movement and surfaces.
Sometimes the waves appear to rush unhindered from screen to
screen, creating the illusion of a continuous surface. At other
times the edge of each screen appears to form a barrier which
separates dry land from the sea.
The infinitely complex rhythm of the waves breaking on the shore
forms a complex counterpoint to the random nature of the projection