Working with stone leads me to question my own perception of time, stability, change and impermanence. Each stone reveals a history of changes traced by the natural world. Their installation urges the public to interact with the solid, stony world of the earth and to consider what the natural world can communicate to us that more fleeting forms of communication cannot. It is constructed and conceived for the public to handle and feel the stones as they wish. The staging of this work as a performance open to interaction is vital. The public performance of the installation calls attention to the importance of the present moment. The public can interact with the stones through touch, through sound as the moving of stones, and through sight by reading the inscribed words, which activates the visual and the cognitive areas of the brain.  I decided the stones needed to be in nature, near a river and located such that they would come into regular contact with the public. The stones originally came from a river in Cornwall and I chose to locate the work in Brockwell Park as the river Effra flows below. I researched which areas of the park are connected with the river and the water level below the main areas of the park. I found a water trough in the heart of the park, right where the river flows.  The water trough has two levels: one is used by dogs to drink and the other is covered with soil and plants. Although the river continuously flows, it is often ignored by the public because it is something below the surface and from the past. Placing the stones over its course was a way of introducing a reminder and reintegrating this hidden present into the public’s path. The public intervention looks at the past (water trough) as a playground to experiment with a new, present moment of experience and awareness (the stones). The project continued as a work-in-progress. I regularly checked-in and followed-up, visiting the site and taking photographs to document the slow disappearance of the piece. I played the part of the watcher, feeling the silence and slow change of the organic process of the piece.