Conetwirl's development, a product of repeated manipulation, was the most complex of all of the works produced for Biomorphia. Its title calls attention to Conetwirl's geometric construction, which would otherwise be subverted by its organic sensibility.

A cone forms the foundation of this piece, opening up to create a multi-directional and undulating plane. Historically, modern sculptors rejected the cone as they tended towards formal abstraction and an appreciation for matter that lacked corporeality. The reintroduction of the cone through its silhouette, and its subsequent unfolding to construct the entire body of this piece, is based upon O'Connell's cunning awareness of this development in modern sculpture.

The form which results from this methodological construction is not an object of stark formalism, rather, it mimics sea plants and corals subjected to the shifts of water's movement. Her use of this new material, carbon fibre, has allowed O'Connell to achieve the parabolic arches and curves which evoke the delicacy and ephemeral nature attributed to Conetwirl and linking it to traditional notions of biomorphism, in which abstraction is used to evoke living forms.