When the build is done and mounted, two carved corbels hold sculpted busts on the wall. Each corbel carries scrollwork and leaf reliefs, with deep recessed areas sitting against lighter raised wood tones, and a hooded figure in black rests on each mount. The pair is fixed to an oriented strand board wall, and the finished result reads as a proper display setup rather than plain brackets.
The finishing is the part that stands out for me. The maker heated dark brown linseed oil on an electric hot plate in a stainless steel pot, brushed the warm oil over the scrollwork and leaf carving with a gloved hand, then wiped and buffed both corbels down with a white cloth. The dark areas were worked up with a concentrated color, applied carefully with a thin brush. The maker explains that warming the oil works because its viscosity is different, which sounds like a sensible way to get an even coat into all those carved recesses.
One open point is the final coat: the oil alone is the finish, with no hard wax layer over it. That seems like a bold call on pieces meant for statue display, since a wax topcoat is a common extra safeguard, but the contrast on the raised wood suggests the oil is doing plenty of work on its own. The exact finish mixture is also not specified, which leaves a little guesswork for anyone hoping to copy the recipe.
Overall this looks like patient, careful work. Getting that much depth out of carved relief without muddying the lighter wood takes real restraint, and the choice to keep the finish pure oil gives the pieces a clean, honest surface.