[1]: 17 Both Seaweed's parents came from chiefly lines, and his father was head chief of the Gixsam sect of the Nak'waxda'xw tribe in the Kwakwaka'wakw region.
[2]: 23 Seaweed was born into a native reservation at a time of significant exposure to white settlers following the fur trade, gold rush, and colonization along the Canadian coast.
[2]: 25 Seaweed's village Blunden Harbour, however, was located in the mountainous terrain of British Columbia's Northwest Coast, isolating it from direct European interaction and allowing indigenous cultural practices to continue undisturbed.
[4]: 72 Under the guidance of elders, usually a father or uncle, the Kwakwaka'wakw student would learn traditional Northwest Coast artistic methods through observation and practice.
[5]: 20 Artists were central figures in the tribal community because they translated important narratives and mythologies it into visual artwork.
[5]: 20 Seaweed's artwork was made primarily for use during Native potlatch ceremonies, which he also participated in as a singer, composer, dancer, and comedic performer.
[5]: 33–4 Christian missionaries and the Canadian government believed potlatch ceremonies to be immoral and dangerous to Western assimilation efforts.
[4]: 71 The mountainous region allowed the tribe to protect their traditions, leading to them being considered masters of the potlatch ceremonies.
[10]: 92 Seaweed's personal effort to continue making artwork during the potlatch ban was a major factor in preserving traditional Kwakwaka'wakw culture.
[5]: 23 He carved totem poles, coppers, headdresses, drums, rattles, whistles, and masks as well as painting house fronts.
He implemented ovoid and U-shapes and adorned his artworks with curving form outlines in keeping with Kwakwaka'wakw design principles.
[9]: 20 While the majority of Seaweed's works were made to function in native ceremonies, others were presented as gifts or available at modest prices.
[3]: 3 Small pencil lines that can still be seen on the back of objects inform of his process, while his tendency to paint the interior of his masks in addition to the exterior help researchers identify his work.
A member of the Kwakwaka'wakw tribe would wear the mask titled upward, while dancing and moving the beak open and shut.
[10]: 92 The mask is distinctive as the Crooked Beak monster because of the hooked crest above the jaw, its open mouth, and large red nostrils.
[11]: 152 Charley G. Walkus' masks feature compass eye markings and smooth interiors reflective of Seaweed's methods.