In the early 1990s Montien Boonma began a series of large-scale installations which explored the experience of space, time and gravity. Often involving the transformation of walls or floors, these works encourage the viewer to shift their perspective in order to view otherwise hidden objects. This work is the preparatory sketch for the installation Oblique floor 1992, which featured a leaning wall, requiring the viewer to move in order to view containers filled with imprints of a closed fist, ash, handmade paper and red light.

When this sketch and installation were made Boonma was trying to come to terms with his wife's cancer. This involved the exploration of 'insight meditation' techniques taught by Buddhist master Achan Chah Suphatto which endeavour to train the mind to confront death. Consumed by the idea of death, Boonma sought to present audiences with meditative experiences through his work.

This work, concerned with questions of life after death, the self and the non-self and earth, heaven and hell, employs the symbolism of red light and ash as representative of the remains of the cremated body. It provides opportunities for its viewer to become immersed in ideas of life after death and the possibility of hell (aveji). Faced with a precariously tilted wall, the work encourages feelings of fragility and the sense of an impending collapse. As the viewer moves closer to observe the filled containers they must enter the red light, immersing them in the strong mood-altering colour.