Moore’s interest in gnarled roots and the bare branches of winter trees is well known, but here we find the graceful coils of ferns and sweeping palm fronds intertwining.

The origin of the motif underlies Moore’s fascination with metamorphosis, for these natural forms began as studies of seated figures, still discernible in the turquoise crayon outline in the first sketch, HMF 2144. In HMF 2144a, the lines have become free of any recognisable subject, while in HMF 2144b the plant forms are recognisable.

The fabric itself also undergoes a transformation. From one of the most clearly organic patterns, a web of sweeping lines in vivid colours dominates any possible identification of potential content to the point of becoming the equivalent in textiles of an abstract expressionist painting. It is the gestural freedom of the depiction of colour and line that are paramount. One can imagine Moore’s vigorous drawing technique; there is nothing tentative here.