In the 1930s, while working with her husband Ben Nicholson, Hepworth's work became increasingly abstract. This carving represents a transitional phase, reconciling natural with abstract forms. The subject reflects her experience of motherhood - she had recently given birth to triplets. It also demonstrates her new technique of carving holes in sculptures. Read wrote: 'In her work … stone and wood yield their essence to give form a concrete significance … [such] modern artists … step boldly in a new venture which may succeed in redeeming art from its present triviality and insignificance.'