Form is informed by long continuities of making. Neolithic and early tool traditions — across Nordic, Māori, and wider Pacific contexts — share a direct relationship to land, timber, and stone. Implements such as adzes and carving tools reflect necessity, proportion, and structural intelligence developed through lived engagement with material.

These ancestral forms are not reproduced verbatim, but studied for their underlying logic: weight distribution, balance, edge geometry, and restraint. Across commissions, the practice has engaged with traditional references from Hawaiian, Tahitian, Cook Islands, and Solomon Islands contexts — responding to cultural forms with care while maintaining contemporary authorship.

Alongside this structural lineage, the work also moves toward organic curvature. Seaweed vesicles, flowing contours, full-bodied volumes, and rounded profiles introduce softness and tension in equal measure. These forms resist rigidity, drawing instead from marine movement, tidal rhythms, and growth patterns found in nature.

Animal presences — eels, whales, bats, birds — and botanical references such as leaves and shells enter the work not as illustration, but as embodied forms. They emerge through attention to anatomy, motion, and balance rather than surface detail. Whether tool-like or fluid, the aim remains consistent: form shaped through dialogue with material and the living systems from which it originates.

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