Triptych

Much larger and more elaborate than most paintings, one of the most striking features of this triptych is its size- well over fifteen feet tall and forty feet long, the three paintings of this work are held together in a frame of elaborately bent, sculpted, and carved driftwood. Every inch of the frame has been covered in aquatic imagery, from drifting jellyfish and crawling starfish, to fierce sharks and fiercer dragon turtles, all the way to scuttling crabs and firefly squids jetting by on their way to whatever business they might happen to need to attend to. The pieces of the frames between the individual paintings that make up the triptych, however, exclusively feature the kelpies of the inner sea, pointing and laughing, and a few looking distractedly at anglerfish horns or seashell necklaces that they are twisting together out of their own kelp.

The first panel and painting of the triptych, the one on the left, is a scene much closer to the beginning of things than to the present day. In this panel, set in the ancient seas, a Divine Figure with Her back to the viewer reaches out toward the almost-still seas with a golden pearl in Her hand, the very beginnings of waves being sculpted upon the surface of a colorless sea, while another Goddess races across the sky in the background, leaving trails of blue through the heavens as She goes. Small creatures are watching the seaborne Goddess as she works, with dolphins and various kinds of fish partially surfacing to give Her their full attention and adoration. At the bottom of this panel in golden script are the words "The Sculptor of Waves".

The second panel and painting of the work is just as aquatic as the first if not moreso, being set entirely underwater. This time, the same Goddess as in the first panel- quite obviously the Divine Lady Carakhan, Sculptor of Waves- is swimming in an unknown ocean, the usual blues and greens of an ocean joined by subtle purples and even some hints of yellow within the water. Unlike in the first painting, the Goddess's entire body is visible, including Her piscene tail and its glittering aquamarine scales. She appears to be travelling with a distinct purpose in mind, with Her golden trident in hand as She gazes out toward an unknown destination with stormy, appraising eyes. She is not alone in Her journeying, however, as next to her and just below her is a kelpie who has taken the shape of a dolphin to keep up with the Goddess in the water, with her pale blue eyes full of determination and the barest hint of some sort of shell peeking out from between the fronds of her kelp. At the bottom of the panel are another set of words in golden script, reading, "Into the Unknown".

The third panel is perhaps the least aquatic of them, and features another Goddess, breathtakingly beautiful to behold but incredibly cold and cruel as well, especially in the position that She is in. A massive wave of water has been focused into a raging blow that has slammed into her midsection, forcing Her to bend around it as She is hurled away from a city in the background, the buildings inspired by shell and coral and the Deep Blue Cathedral making it obvious that it is New Celest. The Goddess's expression is, naturally, twisted into a grimace of both rage and pain, with one lavender eye closed while the other smolders with anger. Her hair has also started to come undone from its immaculate style, though whether from the blow She has suffered or simply as a reaction to Her emotions is uncertain. At the base of the wave of water are a set of golden tines from a trident, identical to the one from the second panel, and far below is a golden pearl, the same as the one from the first panel. At the bottom of the panel, just under the golden pearl, are a set of words in golden script reading, "The Enchantress's Second Fall".