On Fatu Hiva, sheets of beaten mulberry-bark cloth were transformed into dense fields of *enata* — repeating human figures — and staring tiki eyes, inked in ochre and soot directly onto the dark, fibrous ground. Nothing was left empty: chevrons, bands and figures interlock edge to edge across the cloth.

The palette came entirely from what the island offered — burnt earth ochres, plant soot, tree saps — worked into browns, blacks, oranges, reds and yellows over a barkcloth ground that reads as deep umber, never pale. This design system carries that same density and warmth into digital surfaces: a dark bark-brown field worked over with continuous ochre-brown geometry.