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 projectors.

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 event.