The artist has used sand, mud, oil and rubbish washed up on the beach at Penarth as well as more familiar drawing and painting materials. Embedded in the panels are eight versions of another artist's response to the same landscape: Alfred Sisley's 'The cliff at Penarth' of 1897. The inherent physical instability of Setch's painting intensifies his themes of passing time, the fragility of the coastal environment and its constant transformation.