The fluted shells on this frame are the reason it reads so strongly from a distance, and the flutes are not parallel.
A shell radiates. Its flutes all spring from a single origin point below the shell and fan outward, which means the spacing between them widens as they travel and each flute is a slightly different width from its neighbour. Set them out as parallel grooves - which is far quicker - and the shell flattens into a piece of corrugation.
So our artisans strike the origin point on the workpiece first, well outside the shell itself, and draw every flute as a radius from it. The gouge is then worked along each line with the deepest cut at the wide end, tapering as the flutes converge toward the origin.
Finished in black, those radiating flutes produce a fan of parallel shadows that changes as you cross the room. That movement is what a statement piece needs. It is also why the shells are the black elements and the scrolls are the gold ones - shadow does more work in black, and light does more work in gold.