Unlike Thorpe’s other corner paintings, the seam in this work is centrally aligned, which is unusual due to the artist’s preference for slightly skewed and off centered compositions that create a sense of imbalance and imperfection. Even the pattern – which borrows from the arcade painting To Die is to go into the Collective Unconscious – appears symmetrically balanced on either side. This is the first time the artist has attempted to recreate a corner from another painting, honing in on the more intimate aspects of the room, and therefore, the mind. The work has a certain feeling of nostalgia, from the 1980s and the artist’s childhood, calling back to a particular period in time and a sense of home and belonging.