The artwork consists of a four-part sculptural piece wrapping the four columns at the entrance to the building, which are rendered in 12mm blue- green glass cladding. Each pillar is visually unique, sandblasted with distinctive patterns which read as a cohesive narrative. The imagery used represents characters related to the national signatories to the 2016 Paris Climate Agreement. Each nation is pictured as their national animal in a pictographic style reminiscent of early Indigenous signatures on international treaty agreements. The depth of sandblast creates edges strong visual edges in the glass. The visual impression changes from sunlit during the day to electrical illumination at night. Marianne Nicholson states, about this work: "My work stems from a strong belief in the value of Indigenous philosophies and ways of being on the land. It is also driven by a mandate for social justice and the well being of all peoples. Art, writing, performance, and academics are all platforms for the expression of these ideas. Fundamentally, it is about communication, resolution and inspiration. My inquiry questions the social and political contexts which frame the existence of my own Nation, the Dzawada’enuxw of the Kwakwaka’wakw peoples. Our history, both magnificent and tragic, is deeply rooted in the lands we inhabit, the Kingcome Watershed and the Broughton Archipelago. Since contact, this relationship has been threatened by outside forces and we are under duress to hold onto our traditional ways of being. My practice is an attempt to manifest these philosophies into contemporary spaces and conversations. My hope is that through this process of expression that the ideas remain alive and that others can experience their value. I do this because I believe that Indigenous worldviews can benefit all peoples, in particular, our notions of community connection to one another and to the land."