The Polish sculptor worked there for six summer weeks in 1989 at the invitation of the Szleswig-Holstein state government. The aim of the symposium (Internationales Bildhauersymposion "Stein am Einfelder See"), was for artists to work together in hard stone, in constant contact with the harsh nature of the area.

Ryszardka's work, which has been invited to numerous sculpture symposia in Germany and other countries, was considered the most interesting among the works of seven sculptors from several countries, and was featured on the cover of the plein air album. The sculpture was placed on the shore itself, partly in the water. The stone, 'slightly raised from the kink marked by a straight line, reinforces itself by stepping with all its weight onto a flat block resting on the shore. The surprising idea [of the arrangement of the stones] to create anxiety in the viewer, who looks at the course of the contours and feels the weight of the material' (Boguslaw Mansfeld, 2007). The sculpture was calculated to have the effect of reflection in the water, and its form also changes as the water level changes. Among Ryszka's numerous realisations at international plein-airs, mainly in Germany, this one stands out for being particularly sensitive to external conditions: depending on the state of the lake water in which it is constantly reflected, it can look like a simple erratic boulder or like a complex structure of abstractly placed blocks. In Ryszka's essentially figurative oeuvre, the stone from Einfelder See is one of the simplest forms and at the same time the least legible when it comes to analogies in nature. At the same time, it is a realisation most fully inscribed in the context of the place.