Modeled off of Asian prayer spaces, the room is where viewers “can go with our queer ancestors on the ancestral plane,” according to the artist. Loose references to Tu’Er Shen (protector of the queer) and Xiwangmu (queen of the femme) and Guanyin (genderfluid deity of compassion) govern the ideology of the space. The room has a sense of being underground, existing  somewhere that feels both futuristic and ancient, with design centered on a neo-Asian feel mixed in with alien, futuristic, western and psychedelic influences.
“Between every plane there is a liminal space—between yin and yang, body and soul, life and death, between the sacred and the profane, reality and surreality, past and future, male and female,” said Squidlicker. “This space is meant to act as a haven for fluidity: a temple to the liminal, to bring into materiality a space for that which defies absolution. An homage to the queer, to the nonbinary, to the shifting, monstrous and in-process.”