The images, spanning the entire dimension of the wall, serve as evocative manifestations of the artist's personal memories. These memories are intended to permeate the space like a "virus," imprinting themselves upon the viewer's consciousness. The images, unveiled through a chemical process, also possess a fragility—they can be obliterated through excessive washing.

This interplay of revealing and concealing the images mirrors the phenomenological cycle of forgetting and remembering traumatic episodes. It draws parallels to Melanie Klein's theory concerning the interplay of the life and death drives, where the instinctual forces of creation and destruction intertwine in the human psyche.