The basket form of large, undulating bowls containing a number of smaller blown-glass vessels, and trumpet and bowl forms, was pioneered by Dale Chihuly and has become one of his most recognised ways of working. This gathering of objects suggests the randomness of natural accretions of shells and husks, such as might be found on a beach after a storm, but in their similarities there is also the implication of collection, classification and order. In Polished ivory seaform set with charcoal lip wraps the large basket is a refined and disciplined assemblage of elements. The strong, graphic quality of its alternating white and clear glass stripes, blown using the filigree technique, evokes the undulating forms of marine invertebrates in their natural environment, animating the work and the space around it. With an aqueous analogy such as this, the form of this work becomes a metaphor for the transient nature of glass, captured by the blower in a moment between its liquid and solid states.