I generally develop my work around the relationship between nature and humanity, drawing on the themes of protection, preservation, disappearance, and existence. In this piece, which I created using mixed media, I conceived the work as an installation of a ruined house standing within a garden. The dominance of a grey, cold tone in the ruined house represents urban concrete and the spread of concrete structures in the city. Although we may retreat into nature in order to protect our minds and perceptions from the pressures of urban life, we can never fully detach ourselves from the city we inhabit.

In the work, the “house,” which appears isolated, distant, and removed from the complexity and congestion of the city, becomes a concrete expression of the place where our minds and perceptions seek shelter and protection, along with the idea of a backyard as a site of gathering. As seen in the backyard, there are two sofas placed side by side. This is imagined as the final gathering space, carrying the desire to act together as a last hope. At the front of the house, however, there is a pit. As one moves closer to the darkness, it appears as a “bottomless well.” It is from this image that the work takes its title, alluding to the endless darkness that marks the hopeless, uncertain end of our inner world.