This painting by Fate is of mweje (also known as mwe and or’e — gardens and paths through the garden). The lines commonly seen running throughout Ömie women’s paintings known as orriseegé or ‘pathways’, originate from the ancient mwe/mweje/or’e garden designs. The border and diagonally sloping lines in this painting are orriseegé or ‘pathways’ through the gardens and garden plots. Within the gardens Fate has painted a number of designs:

~ The crosshatch design and also the parallel stripes that bisect some of the diagonal lines are also mwe, land and gardens.

~ The dots within the orriseegé are sabu deje, representing the spots which can be seen on the sides of a wood-boring grub. This grub is sacred to Ömie people as it plays an important part within the creation story of how Huvaimo (Mt. Lamington) came to be volcanic. It is a traditional sor’e (tattoo design) which was most commonly tattooed running in one line under both eyes. Today it is applied to Ömie people’s faces with natural pigments for dance performances.

~ The curved lines within the orriseegé and diagonal lines are nenyai, a white seashell forehead adornment worn by women. Fate says these were made “in the times of the Ancestors” and are still worn today. Ömie people obtained the seashells from coastal tribes of Oro Province by means of trade and they also collected them from the beach. Seashells were a foreign, rare and beautiful material from the faraway coast so they were highly valued in the Ömie mountains and would be displayed as a form of wealth on both men and women’s jewellery. Fate’s father Lokirro told her about his travels to find and trade for seashells on the coast.

~ The lines that run diagonally through the orriseegé are ije bi’weje – boys cutting the leaves of a tree. Fate explains: “The mother was cleaning the bush to make a garden with her two young sons. The boys climbed a tree to cut all of the branches and leaves down. The branches fell down and the mother took all of the leaves and threw them away. Then the mother got plenty of bananas, taro and yam to plant in their newly cleared garden. When they finished planting all of the plants, they ate all of the food from the garden and lived a long life.”

~ The short bristle-like design is ijo bunë, representing the roots of trees after they have been chopped down in order to clear the garden for planting food. Another short bristle-like design that can be seen is dubi dubi’e, representing the leaf of a rainforest vine that often grows on mountaintops.

~ The criss-cross design within the orriseegé and diagonal lines are mi’ija’ahe, animal (wallaby) bones found while digging in the garden.

~ The small black infilled triangles are moköjö bineb’e, the red chest feathers of the parrot. The moköjö bird appears in several Dahorurajé and Sahuoté clan stories. The birds often appear as a flock in the form of a cloud, stealing children or collecting deceased children and carrying them/delivering them to the ancestor spirit villages high on the volcano Huvaimo and other mountaintops where deceased Ancestors reside. In the old stories, the parrots also commonly communicate and bring messages of warning to Ömie people.

~ The solid black triangles are mahuva’ojé (mahero mwe ijeh’e), pig’s hoofprints - showing how the garden has been trampled and destroyed by hungry pigs.

~ The circular concentrations and trails of fine dots are ujë, bees.

~ The chevron (arrow-tip) design that run through the orriseegé and diagonal lines is buboriano’e, beaks of the Papuan Hornbill (Rhyticeros plicatus).

~ The spots within the squares (in the within the orriseegé) are jä’ino carticarti, representing the spotted markings that can be seen on a stone on the Uborida River south of the village of Gora. This is a significant site by at the swimming hole known as Maruro, and by the waterfall known as Juoho, where a footprint was left by a Nyonirajé clan man ancestor, as he ran and escaped from a cannibal spirit belonging to the Misajé clan. Fate explains the markings look as if a grub has dug holes in the stone and left the marks.