The mirror installation was then moved to the Slaughterhouse at the Royal William Yard in Plymouth. The work became a ‘sculpture’, positioned horizontally rather than vertically, internally and externally to the historic building, which furthered the concepts of displacement.
The circle of mirrors did in fact have to ‘disappear’ into the sea for a third of the circumference, which extended the concept of the work and Smeaton's Tower moving from sea to land.
The mirrors reflected the adjacent buildings which embedded them in the environment and created an alternative view.
