The ice sculptures were prepared over a six-day freeze period with pebbles frozen into the ice. Also partly frozen into the ice stainless steel eyebolts and steel plates used to suspend the 80kg blocks. Stainless steel cable was used to suspend the blocks and a pulley was utilised so as to allow the lowering and raising of the blocks before and after each performance. A 500 ltr chest freezer was used to preserve the ice between performances. The ice would slowly melt throughout the performance and as it did so pebbles would drop at intervals as the melting released them from the ice. Underneath was positioned stainless steel bowls, partly to collect the dripping water and also to produce some sound sculpture qualities. The audience found the suspended ice sculpture particularly attractive, and it was almost irresistible to touch.

The derelict metal installation was possibly the most obvious although complemented the other suspended installation pieces very well. It was also used as a sound sculpture with musicians taking advantage of whatever was set up for them. Metal tubes as used for irrigation were used as tubular bells and created a spectacular visual effect due mostly to their size and length.

A floor installation was also adapted from romantic tutus. This ‘tutu field’ was constructed of up to eight tutus with internal lighting and detailing such as acetate floor discs and glass light domes. The lighting system used was low voltage quartz halogen lamps that could be patched to a dimmer and used to great effect in the performances.

The photographic exhibition uses approximately 24 images recorded by Glen O’Malley over the development project. The exhibition has been developed along side choreographic and video / digital art work and sound composition. This cross fertilisation has produced stimulus for each artist to interpret collaboratively or personally through a given medium.