The installation consists of two rooms, both of which were directly inspired by taped, oral interviews of Cypriots in the U.S.A., England, and the Republic of Cyprus. Interviews came out of long prior experience in Cyprus and they followed standard contemporary anthropological record-keeping. Questions were aimed to elicit Cypriots’ visual recollections, specifically pertaining to churches from which they had been separated, either as a result of economic emigration or displacement in the early 1970’s because of war. In the first room twelve ‘icon stands’ contain sound-card recordings of people describing icons. Each piece is featureless, but colored by earth collected from diverse parts of the island: a reference to the fact that many of the stories about icons deal with their emergence from the ground. The second room is a kinetic landscape of objects, each of which relates to a discreet story or memory. Hanging from lightweight cable, the objects are identified by aluminum tags bearing the names of the churches recalled. These tags make visual reference to Greek Orthodox devotional gifts (τάματα) and to military dog tags. They also have audiotape reference numbers, which bring the object back to a precise moment in time, in a conversation. As the political situation in Cyprus has changed considerably since this project was conceived, the precision about time - and accuracy in the fabrication of work as it relates to time – has become more important.