Arrays of pebbles scattered randomly and insignificantly alongside the shoreline of the river Limmat, in Switzerland, caught also Haller’s attention.
The smoothly ground stones revealed a display of white lines which maintained a sharp contrast to their grey coloured surfaces.
The line pattern were curved and circular, the designs extraordinary, elegant and exquisite.
Haller’s imagination interpreted these rounded lines to be a sign language accounting for a long journey down waterways the Stroppel's shores.
The interpretation of the stonegraphic concept is rather unconventional and abstract. Haller used the spectrum colours, from yellow to red to blue to green, as background to symbolically point to the light condition in the environment of the stones. The white stone lines were interpreted with simply white paper cuts and laid onto the coloured base sheets. Haller ignored the shape of the stones altogether.
As in his earlier work he looked for simplification and reduction.