For CHRIS to review:

Patrick Amos’s Swan Moon reflects a deep command of Nuu-chah-nulth design vocabulary, paired with a willingness to experiment materially. The circular, symmetrical composition draws from the visual logic of crest imagery, but the face at its centre leans more toward figuration than is typical. The paua shell inlays, rarely seen in two-dimensional graphic work, introduce a tactile, sculptural dimension that recalls traditional inlaid eyes found on bentwood boxes and masks. Positioned across the eye line, they reinforce the moon’s watchfulness. While the title likely refers to a lunar cycle rather than a specific narrative, the influence of avian crest forms is evident in the surrounding elements.