After much deliberation, I went with my gut feeling, which was to keep the three pieces clearly as a group to emphasise the descending size order and to reinforce the concept of the imperfect edition. This was a difficult decision to make, especially after all the efforts planning and installing the work in the pond (and Alain had gallantly stepped into the sediment on my behalf).
What made the decision harder was that the small piece did in fact work really well in the water. The reflections added another dimension to the piece, plus there was definitely a sense of the sculpture hovering on water. (But I can save this for next time!!)
However the other two other pieces were isolated. We couldn’t bring them any closer to the pond edge because it was very marshy and unstable.
As the sculptures look rather plant like from a distance I felt they needed to have something of the formality of the border planting of municipal flower beds, which is the thinking behind the final configuration. I wanted the sculptures to rest directly on the ground and not have the interruption of a plinth.
I am now very happy with the final result and can sleep easy at last.