Five sculptures arranged on a rough-hewn wooden shelf present the stages in the melting of a chunk of ice. Glass spheres balanced on four of the bronze ice blocks correspond in size to the volume of water that has metaphorically disappeared from the ice. The spheres increase in size in inverse relation to the shrinking of the ice. 
The largest of the ice blocks is based on a three-dimensional scan of ice that Eliasson and his team collected from a beach on the southern coast of Iceland known as Diamond Beach. Glistening pieces of ice wash up there after breaking off the Breithamerkurjökull glacier and remain on shore until they melt away. In 2020, Eliasson and his team made 3D scans of individual ice fragments in order to capture the ephemeral forms before they disappeared for ever. The six smaller ice fragments were extrapolated digitally from the original scan. Software was used to simulate the complex process of melting, to predict where the block might lose mass and at what rate. Moulds were made from the digital files, and the bronze forms were cast according to traditional methods in a hybrid technique that unites timeless knowhow with modern technology. The material has been treated with a matte white patina that obliquely references the whiteness of the ice that inspired it. Bronze, a favourite material of sculptors since antiquity, was chosen because of its association with permanence and commemoration. Using the metal to immortalise these disappearing, ephemeral forms produces a kind of temporal incongruity. 
The log used for the shelf was scavenged from the coast of Iceland, where the wood washes up from as far away as Siberia. The wood has been planed on one side and left raw on the other, revealing the traces of its long journey across the Arctic. Driftwood was long an important source of lumber in Iceland, where less than one per cent of the land is covered with forest.