This painting created in 1990 relates directly to Tanning's iconic sculpture installation 'Hôtel du Pavot, Chambre 202' created around 1970–73, It was acquired for the Pompidou collection in 1977. Referring to this work in a painting later in life highlights how important the subject was for her.

Within the sculpture installation of a life-sized, hotel room populated by anthropomorphic furniture arranged like a theatre or film set, there is a sculpture of a chimney breast which Tanning depicts as a space of fantastical forms bulging and seeping from the fireplace. In the later painting, Tanning presents the hearth breathing life into the space, a passageway - from the inside to the outside, suggesting both a birth canal but also a threshold into another reality. Tanning perhaps referencing Lewis Carroll's 'Through the Looking Glass', where Alice enters the 'other side" by climbing up onto her hearth to get a closer look at the mirror resting above the mantelpiece.

The work relates to Tanning's preoccupation with the fantastic and other-worldly, exploring the boundary between physical "place" and psychic space and how this collapses and provides the perfect metaphor for the unconscious and the imagination.