This is one of my earliest fusion designs, made while we were still living near Neah Bay. As I continued to develop my Northwest Coast Native/Celtic fusion style, I tried to blend design elements from both traditions. I looked at Celtic knotwork from George Bain’s 1997 book Celtic Art: The Methods of Construction and tried to use its influences in the interlacing feet of the two loons. I also had the necks of the chickens/grouses similarly interlock. The spiral design in the center is also strongly Celtic in its influences incorporating the horse as the main symbol. Leigh loves horses and she helped me in making them just right. Leigh is always a big help with my paintings and I really appreciate and respect her opinions and suggestions. The designs in the loon bodies also are strongly Celtic yet have an even more primitive feel—almost like an Australian Aborigine painting (this, however, was unintended at the time). I originally painted this to sit above our fireplace at our old home in Sekiu as I like to fit a painting to a space in our home, even before I begin the design.