This sculpture tells of Bourgeois's personal struggles with dealing with her demons, thrust upon her by the somewhat put-downs, and how Bourgeois was traumatised by her father’s infidelity. The sculpture is where her parents ran a restoration tapestry business outside of Paris. The work is a room within a room, the Cell, and this building a model within it. It could be said as a mnemonic token. The pink building not only was the place of business for her parents but they lived in an apartment here. The guillotine blade that precariously hovers over the entrance to the cell and the warmth bodily color of the pink marble gives an aura of both being hard and soft. This duality is evident in much of Bourgeois's ovure. What I connect with is the sense of a not belonging to this world yet having been apart of the family structure, the trauma of living in this environment and now as an adult being able to self express. Those internal feelings of living with, now being able to still not vocalise them but being able to demonstrate through sculptures and drawings those demons. Emily Wei Rales in Louise Bourgeois,(p.15) talks of Bourgeois, “the house as the site of infantile experience, the idea of the home as an uncanny extension of the body, already established in her visual lexicon” Today more than any other time here in Melbourne COVID 19 confines us all to the home, for many a place to re-connect with loved ones for others a place that is a house, maybe devoid of the loving environment, and perhaps like what went on behind close doors in Louise Bourgeois family apartment a place of torment, struggling with detachment. A time to shut down retreat into seclusion, conjure up those feelings and emotions of unwanted or just escaping to another internal world.