The border and lines that run through the work are known as ori sigé or 'pathways' and provide a compositional framework for the designs. The or'e (path) designs are ancient and originate from the time of the Ancestors and relate to the intricate footpaths that run through food gardens and garden plots. The main design throughout the work is known as ani'emeh buri'eteh, representing small pieces Of pig meat. Audrey was taught this ancient design by the late Albert Sirimi (Nanati), former Assistant Paramount Chief of Ömie men and the only known male Ömie painter who was formally trained. Pigs are extremely important sources of food in the rainforest as protein in partricular is very hard to come by. In order to catch a wild pig, a hunter must be highly skilled and even then there is still great risk to his life due to the pi$g's large size and the danger of their tusks. And so pigs are highly valued in Ömie territory and even are offered as gifts during customary brideprice marriage ceremonies. The spiral design is vaigu dere, shells of the bush snail. Bush snail shells are usually found in the rainforest, and were used in the time of the ancestors for the important social custom known as haiwu'e, the chewing of betelnut. This custom is practiced in everyday life but especially during feasting and dancing after Ujawé initiation tattooing rites as well as for marriage ceremonies. The shell would be ground up into a powder, similar to lime powders used today, and then chewed with the fruit of the betelnut. It is said that betelnut-chewing enduces a trance-like state in the dancer.